Review: PLAY ON! at Signature Theatre

Twenty-three songs from the catalogue of the legendary composer and musician Duke Ellington creatively exploding with swinging energy or calming with mellow moods are enough to make one’s mind spin ---but combine this with a creative book by Cheryl L. West (the project was conceived by Sheldon Epps) that is based on playwright William Shakespeare’s famous comedy Twelfth Night, and you have hit the merriment mother lode courtesy of the Signature Theatre. 

Top this thematic and well-constructed musical with the setting of the famous Cotton Club nightclub (which was so integral to the era of the Harlem Renaissance) and a Broadway accent to the Ellington songs,--and a sassy, jazzy and magical musical ensues.

Director Lili-Anne Brown mines this vast wealth of material and themes with a lusty comedic respect and professional elan.  It seems that the director wants to break down class, racial, musical, and theatrical barriers with this fantastic musical and, indeed, she does this. Through the miracle of theatre, so many layers can be unpeeled.

Interactive touches such as a nightclub audience setting (replete with night club tables and lamps) and an art deco-emblazoned stage (that reminded me of the period glitz of the film Victor, Victoria ---this is a compliment ) left me gawking-- but layers were deepened further as I realized that the book by Ms. West ingeniously focused on a nightclub (the famous Cotton Club of Harlem) narrative. The young, adventurous Vy (the modern plot’s archetype for Viola from Twelfth Night) cross-dresses and wears apparel that is suitable for a man in order to defy stereotypes (and try to make a living!) to attempt to write songs for nightclub artist Duke Ellington---known here as “Duke.”

Interactive themes continue as the actors make quick asides and “wink” with double -entendre quips and “we are all in on it” looks to the audience, and as they walk from the apron of the stage  into the audience and out of the theater ----and back again -----! Breaking the fourth wall has been used with finesse with the theatre’s thrust stage.

The comedic and (bordering on farcical) theme of amorous play and romantic longings replete with the theme of concealment and hidden identity is prevalent ---and akin to almost any comedy of Shakespeare such as A Midsummer Night’s Dream or Much Ado About Nothing ---but this musical (which was produced on Broadway in 1997) is based on the plot and characters from Shakespeare’s Twelfth Night. A merry romp in Harlem ensues as sexual and social conventions are challenged and configured, to add to Ms. West’s solid construction of her book ---as well as to convey the sobering fact that the marginalized must often resort to hiding their true selves.

In this musical, stereotypes and outdated prejudices are broken just as they are in the fluid worlds of  William Shakespeare and Duke Ellington. “It’s a man’s world” says the “Duke”, woman must fight for their place as implied by Lady Liv and exhibited by Vy (with her crossdressing) and the fact that blacks could only perform at the Cotton Club but were not allowed to be patrons decidedly showed that the segregation laws were cruelly made and enforced (the ultimate hypocrisy and cruelty:  Duke Ellington and his orchestra and company could not come through the front door).

The diva, the nervous minister, the prankster, the elegant but machismo -laden artist are all parodied and, concurrently, brought to life by the actors going beyond the stereotypes and bringing new edges/layers to their characters. Director Lili-Ann=e Brown respects the milieu and her audience, and it shows.

Each song and number in the musical flows freely into one another with the dialogue ably abetting the performances. Each number mirrors the spirit of Ellington while still conveying the intent of the book by Ms. West.

Awa Sal Secka as the night club star Lady Liv is a marvel as she sings of the blues in Ellington’s famous “Mood Indigo” and “I Ain’t Got Nothing but the Blues”. Ms. Secka’s delivery of “Black Butterfly” is full of deadpan hilarity. Ms. Secka brings a depth of shading to each of her lines.

Jalisa Williams as Vy, the eager young songwriter looking for a break into the songwriting world has an engaging and androgynous natural charm and presence on the stage. Williams comic sense was shown as Williams dresses as a man and charms the nightclub owner “Duke.” Williams’ rendition of “I Don’t Know About You” was superb.

The deep resonant singing of Greg Watkins as “Duke” was gradated to catch the extremes of each end of his vocal range with elegance and ease. Mr. Watkins played the piano on stage and Watkins’ singing was elegantly phrased -- –just as the smooth Duke Ellington himself would approve of .

Chuckie Benson as the engagingly anxious character of Rev conveyed superb comic timing as he drew inner strength in his romantic convictions about Lady Liv--- particularly in his uniquely charismatic renditions of “I’m Beginning to See the Light” and the reprise of “I Got it Bad and That Ain’t Good.”

The tap dancing of Wesley J. Barnes as the merry prankster called Jester was phenomenal and drew gasps of pleasure from the audience.

Kanysha Williams as Miss Mary, Alana S. Thomas as CC and Derrick D. Truby Jr. as Sweets were all highly comedic and entertaining.

The exceptional ensemble of performers shone in the brilliantly choreographed (Snappy, hip, sleek, jazzy, and sensuous choreography by Breon Arzell) “Take the ‘A’ Train.”

The sheer verisimilitude of Duke Ellington’s musical catalogue is daunting to comprehend at one glance, but this production reminded me of the myriad moods of his music from the loneliness of “In My Solitude to the radiant hope of “Something to Live For” to the upbeat swing of “Hit Me with a High Note and Watch Me Bounce.”

The orchestra of six as conducted by Brian Whitted played with deft agility and inventiveness on the top tier of the inventive and intricately-designed set by Dan Conway—aside from the interactive nightclub setting, the upstage stage space is enhanced on all sides with inlaid art deco designs and motifs as well as nightclub lights.

Music direction by Jermaine Hill is superb as the differing styles of Ellington’s music are a pleasure to hear.

Orchestrations by Luther Henderson are textured and variegated with rich musical invention and bring the brilliant Ellington compositions to a new life.

Costume design by Samantha C. Jones is replete with bright yellows, golds and shiny satins that reflect the flavor of the period. A zoot suit was worn onstage –as appropriate to the period.

Lighting design by Jason Lynch is nicely focused to enhance the lively proceedings.

Sometimes the musical “tried to do too many things” for its own good and /or struggled to maintain musical emotion aligned with the book but these moments were very few; some moments could be construed as too broad or generic, but they were soon forgotten with the deft delivery of the actors guided by a director who directs with a “wink of the eye” tone for her audience. I strongly believe that the addition of the book by Cheryl L. West makes this musical more rewarding than the Ellington non-book musical entitled Sophisticated Ladies.

The blissed-out and joyous feel of this musical derives not only from the actors and the director’s touch but, also, from the relaxed sense of comic timing and phrasing ---that is often sorely lacking today. Not since the pure relaxation and “in the moment” bliss of Bette Midler and Stevie Wonder in concert have I experienced such a feeling of relaxed comedic pleasure.

The immense talents of two of our greatest geniuses ---playwright William Shakespeare and musician/composer Duke Ellington ---are synergized cohesively by director Lili-Anne Brown in this marvelous production. The richness of William Shakespeare and Duke Ellington, combined with the setting of the Cotton Club during the Harlem Renaissance and an exceptional cast, make this musical a Signature Theatre production that is not to be missed.

Play On! runs through October 5, 2025, at the Signature Theatre located at 4200 Campbell Avenue, Arlington, Virginia, 22206.

Running Time:  Two Hours and thirty minutes including one fifteen minute intermission