BWW Reviews: FELA! is 'Original, No Artificiality'

Houston's Society for the Performing Arts presentation of the three time Tony award winning musical FELA! is a high-energy, powerhouse of a show. Its structure is reminiscent of the Kander & Ebb classic, Cabaret, yet as Fela himself says in the show, this is purely "original, no artificiality!"

The show takes place in the late 1970s, as Fela Kuti, the most prominent African and Afro-beat musician in Africa, is doing his farewell performance in the club/dance hall that he made a sensation, The Shrine. The Shrine is located in tumultuous Lagos, Nigeria, and Fela Kuti informs the audience that this is his last show because it is too dangerous for his fans and himself to keep on performing. Furthermore, The Shrine is surrounded by a militant army that is doing their best to keep fans away from the show. As he performs his final concert, he tells the story of his life, keeping the audience dancing in their seats and even in the aisles.

The first act, overall, maintains a light and fun atmosphere. Each number is highly rhythmic, with driving beats that just make the audience move. At the performance I saw, I do not think there was a still person. Whether swaying in their seats or tapping their feet, it was obvious the audience was physically moved by the pounding drums, which also provide a unique learning experience for the audience. During the "B.I.D. (Breaking It Down)" set, Sahr Ngaujah, as Fela, teaches the audience about the history of drumming as music in Africa and where Afro-beat originated from, discussing each element from the drums to the vocals and even the brass instrumentation.  Then, during the "Underground Spiritual Game (The Clock)," the ever energetic Sahr Ngaujah's Fela demands the audience to stand up, sway to the music, and even teaches the audience how to use their clocks! Rounding out the first act are the more politically thought-provoking "Trouble" and "Black President" sets. Using humor, Ngaujah's Fela peppers in affectations and interesting insights of postcolonial critique, critique of the new Nigerian government, and critique of the foreign oil companies in Nigeria.

The second act begins as people are taking their seats. The cast is pantomiming using water to clean the stage and other objects. Once the music starts and lights darken, the full company takes the audience through an emotional journey that begins by discussing the importance of water, which really moves the audience on a deeper level than the previous act.  FELA! reaches its emotional apex, during the heart-breaking "The Storming of Kalakuta" set and the inspiring and uplifting "Dance of the Orisas" set. "The Storming of Kalakuta" is a powerful vignette, exploring the depths of the horrors inflicted upon Fela and the people living in his compound when 1,000 armed soldiers stormed Kalakuta. Then, a broken and defeated Fela finds inspiration from a dream about his mother as a goddess to continue to stand up for basic human rights during "Dance of the Orisas." Lastly, the act closes with the powerful, emotionally and politically charged "B.Y.O.C. (Bring You Own Coffin)" set.

The staging during all the sets is spectacular, but "Dance of the Orisas" is sure to leave audiences spellbound and mesmerized. The lighting effects and projection effects work together seamlessly throughout the whole show, and are used very well; however, the electrical masterpiece of the show is the emotionally explosive design used during this set. Whether it be the seemingly three dimensional projections of rain fall or the subtle shift in temperature and color, this segment of theatrical wizardry is nothing short of stunning.

The costuming and set designs are truthfully evocative as well. The set is minimalistic and really looks like a thrown together club for the people to simply dance and enjoy great live music in. The costumes are reminders of the late 60s and early 70s fashions of the performers and consumers of Afro-beat, with elements of the tribal, pre-colonial dress mixed in.

Sahr Ngaujah as Fela Kuti is powerhouse actor with an amazing voice. He is charismatic and easily wraps the audience around his finger. His ability to lead the cast makes the audience feel that this could easily be a one-man show; however, no one is upset that it is not. He plays well off the ensemble and the stellar band. He moves the audience physically and emotionally. Moreover, Melanie Marshall as Funmilayo Anikulapo-Kuti (Fela's mother), is a showstopper. Her powerful vocals and range are astounding. She has clearly been trained in Wagnerian opera, and she knows how to evoke every emotion with her voice through tonal control and dramatic riffs. Rounding out the cast, the ensemble must be lauded for being the hardest dancing cast I have ever seen. They must shed ten pounds a show, easily!

FELA! is a fantastic and fun night out at the theatre. It is a show that is very deserving of every award it has earned and been nominated for. Furthermore, this touring production features the man who originated the titular role, which is a unique and altogether rare treat. All in all, this is a show you simply do not want to miss!

Houston's Society for the Performing Arts presents FELA!  at Jones Hall until Sunday, June 10, 2012. For more information and tickets, click here or call (713) 227–4772.

Photos courtesy of Raymond Hagans & Tristram Kenton.

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