Displaying items by tag: Michael Santos

Taking part of its title from a defining song that drew attention to the AIDS crisis in the mid 80s, That’s What Friends Are For: Gladys, Dionne and Patti combines thoughtful storytelling and fantastic music to honor the cultural contributions of three outstanding artists.  Currently playing at Black Ensemble Theater (BE) through late July, it also highlights how the three women referenced, now each in their eighth decade, have been able to sustain a close and abiding friendship for over fifty years.  That BE fulfilled its mission to offer a fresh look back on the careers and discography of Gladys Knight, Dionne Warwick and Patti LaBelle so brilliantly is more refreshing than it is surprising.   Proving that even when you’ve honed your craft expertly for nearly half a century, you can still innovate and discover new approaches to offer the theater going public something novel and tremendously exciting. 

Written and directed by Daryl D. Brooks, the theater’s Producing Managing Director, the musical’s more dramatic elements take place in the Green Room of a leading Vegas nightclub where the three legends will be headlining a performance.  Chic and relaxingly plush, it reads as a fitting setting for a reunion of luminaries.  Acting as their tender who’s indubitably accomplished at what he does and has a history serving at least one of the women in the past, ensemble member Dennis Dent dials up the comedy quotient by compulsively oversharing some of the racier parts of his own love life while accommodating their every desire. It doesn’t take long to become comfortably acquainted with who’s who and embrace the authenticity of the high regard the women hold for one another. 

We’re initially introduced to the three stars in their fully formed and mature personas.   Rose Marie Simmons portrays the contemporary Gladys Knight and Sybyl Walker and Tamara Batiest play the mature versions of Dionne Warwick and Patti LaBelle respectively. Later, as the play progresses, different actors will represent the younger fledgling versions of each of them.

What appears to be a chance comment by one of the trio early in the show launches Gladys, Ms. Simmons, into a rendition of Oh Happy Day that’s so rousing it makes you sit up straight and causes your eyes to widen.  Captivating your attention with its power, conviction, ingenious arrangement and artistic mastery, a classic is transformed into something splendidly new.   You soon learn singing and blue-chip musicality on that level would be the standard for the entire performance. 

As the women reminisce about their early years, how they all started out as backup singers whose distinctiveness eventually took them to the standalone mic at the center of the stage, the music and sound that led to their discovery and fame was brought back to the fore.  This was done most effectively when focused on Dionne Warwick’s career.   

Anyone faintly familiar with Warwick’s rise knows how pivotal her association with Burt Bacharach was in fueling her fame and it’s the scene with the young Dionne (Brianna Buckley) and Mr. Bacharach, played by Michael Santos, that riveted for its realism and resonance.  When the mature Dionne states she’s always been a “no-nonsense black woman who knows her worth”, it’s Buckley who brings the depth of that conviction to blazing life.  Unyielding in her indignation when she learns her mentor and partner has given a song written expressly for her to another artist, her fury, its intensity made more potent because it was so contained and focused, reverberated like shock waves through the theater.  With the steely ardor Buckley brought to it, the power of that scene could have been used to inspire and spawn an entirely new companion play. Its real-life outcome was to provide the seed for one the biggest hits Bacharach would write for Warwick, Don’t Make Me Over.

Similar insights about pivotal moments and crucial intersections that would go on to define the trajectory of each of their lives swirled through the production; giving each of their lives fuller dimension and engendering greater respect for what they all eventually accomplished.  Fame and fortune have no impact on how well Cupid shoots his arrow and all three women knows, as the play recounts, the sting that comes when it strikes badly.

Reflecting on how their careers overlapped and remembering the friendships they shared with others in the industry, unexpected delicacies were woven into Brooks’ tight illuminating script.  When some of “ReeRee’s” (Aretha Franklin’s) idiosyncrasies were playfully and lovingly recalled, her music was also resurrected with a sensational rattle-the-rafters medley of a few of her signature masterworks, Respect, Think and Ain’t No Way. 

Similar delights lay in wait when Luther’s name entered the conversation.  Characteristically suave, another ensemble regular, Dwight Neal, can always be counted on to nudge the bar to impressive new heights; but his vocal interpretations of Mr. Vandross, in tandem with the outstanding musicianship of BE’s rock-solid band, were remarkable.  Adding another layer of excellence to an already break-out show.  And as wonderful as it was, his performance was not its highlight.  That distinction goes unequivocally to Tamara Batiest in her role as Patti LaBelle. When you consider Ms. LaBelle’s vocal range, outsized charisma and the signature theatrics she’s been known to exhibit on stage, filling her shoes would seem like an intimidating task.  Batiest’s take on Patti makes the challenge look trivial, becoming an avatar who’s as realistic and enthralling, if not more so, than the original.  Garnering her a standing ovation every time she sang.   Seeing Batiest commanding a Chicago stage more often, in addition to Ms. Simmons and Ms. Walker, would be a boon to the cultural vitality of the city.

Also adding to the production’s luster, Tanji Harper’s choreography included a dash of smooth sophisticated elegance to the steps she devised for the Spinners and Ms. Knight’s faithful Pips.  Complemented by Keith Ryan’s polished costume designs, That’s What Friends Are For’s visual pleasures ideally framed a night of marvelous music.  

That’s What Friends Are For: Gladys, Dionne and Patti

Through July 27, 2025

Black Ensemble Theater

4450 N. Clark Street

Chicago, IL   60640

https://blackensembletheater.org

Highly Recommended

*Extended through August 10th

*This review is also featured on https://www.theatreinchicago.com/!