Review: Sultry, Soulful, and Spectacular: BLUES IN THE NIGHT Delivers at Arizona Theatre Company

ATC's BLUES IN THE NIGHT sets the mood with a striking, multi-tiered scenic design by Edward E. Haynes Jr. It's a masterful composition of four seamlessly integrated spaces, each primed for intimate storytelling. A jazz quintet punctuates the setting upstage, conjuring the sultry ambiance of a smoky, late-night blues bar.

A large, hanging arch mimics a window overlooking the nighttime cityscape, amplifying the set's brooding allure. Delicate white fabric drapes on either side of the stage, hinting at symmetry in a world steeped in dissonance. Kudos to Paul Miller for enhancing Haines' scenography with exquisite lighting that underscores the theme's muted aesthetic.

Curated in collaboration with musical director Sy Johnson, acclaimed director Sheldon Epps first staged BLUES IN THE NIGHT in 1980 as a musical revue. The show follows three women and one man, each offering a different take on love and loss. Structured around legendary songs by Bessie Smith, Duke Ellington, Johnny Mercer, et al., it debuted on Broadway in 1982 and earned a Tony Award nomination for Best Musical.

Be that as it may, jukebox musicals are a hit-or-miss proposition—often a tortured contrivance, bending plot and character to fit preexisting songs. To his credit, director Ricardo Khan threads a fine needle by staging seamless transitions and highlighting a narrative fluid enough to justify a diverse setlist. Short of adding dialogue between its standalone musical pieces, BLUES IN THE NIGHT is as cohesive as the genre gets. (Special shoutout to Hope Clarke of Broadway's JELLY'S LAST JAM for the choreography.)

The show's appeal rests on its four powerhouse vocalists and the rich, full-bodied sound of its five-piece combo, anchored by pianist and music director William Foster McDaniel. The saloon upright is a nice touch; its jangly, uneven sound evokes a nostalgic, gritty charm of a bygone era.

Roz White commands the stage as The Lady from the Road, a blues singer hardened by life's trials yet fueled by an unshakable resilience. Her voice, steeped in soul and experience, takes audiences on a deeply moving journey, embodying the strength and survival at the heart of the blues.

April Nixon shimmers as The Woman of the World—sophisticated, sharp, and world-weary from hard-earned wisdom. She delivers a smoldering performance with steamy confidence, bringing the house down with a sizzling rendition of "Kitchen Man."

The youngest ensemble member, Camryn Hamm, brings a charming mix of innocence and hope to The Girl with a Date. Naïvely romantic, she clings to the fantasy of fairy-tale love, unaware of the heartbreak that lurks beneath its surface. She sings with the sweet resonance of a musical theatre ingénue, her high register soaring with clarity. Comparatively, her swinging midrange in "Taking a Chance on Love" feels slightly less assured.

The revue's lone male vocalist is Darryl Reuben Hall (The Man in the Saloon). Mr. Hall flaunts a robust and dynamic baritone, the vocal archetype of the smooth-talking drifter, the very kind that fuels the heartache woven into the women's songs. He is the quintessential seducer of blues pathos. 

One of the show's strengths is Khan's ability to shift our focus from the characters' private struggles in Act One to their transformation into a unified ensemble in Act Two. Nowhere is this more evident than in the evolving sisterhood among the women while confronting the reality of doomed romance, culminating in a company adaptation of "I Gotta Right to Sing the Blues" and "Four Walls," delivered in a rousing, showstopping finale.

The entire musical selection is impressive. When you think you're in for 90 minutes of the iconic three-chord, 12-bar structure, the titular song by Harold Arlen and Johnny Mercer takes you on an elegant detour through sophisticated chord changes. Meanwhile, "Lover Man" and "Willow Weep for Me" boast lush harmonies enriched by diminished chords and extensions, lending a deeper emotional texture to the score.

Amid the growing challenges to Black History Month in today's political climate, Arizona Theatre Company has made a significant statement by launching a vibrant tribute to African American music.

At a time when society continues to overlook marginalized voices, this production honors a musical legacy while elevating essential narratives that reflect the country's diversity. ATC's dedication to these themes is a bold artistic choice and a significant cultural intervention, ensuring that Black history remains a vital part of our consciousness.

BLUES IN THE NIGHT runs through February 15 in Tucson and continues in Phoenix from February 22 through March 9. For tickets, visit www.atc.org.

Photo Credit: Tim Fuller

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