Review: The FREEDOM CABARET at the Stratford Festival is a Stunning and Poignant Celebration of Black Music

After a brief delay due to weather, the FREEDOM CABARET opened at the Stratford Festival on Saturday night and it had the audience captivated from start to finish. The show may not have begun until the lightning passed, but the mood under the Festival Theatre canopy was certainly electric. This cabaret offers an exploration and celebration of Black music and its undeniable contribution to the very fabric of the music industry and to society in general. In addition to performing, Beau Dixon is the Curator, Director, and Music Director of this superb cabaret and he has assembled some incredible talent. From the vocalists to musicians, everyone has their moment to shine.

Singing a diverse series of numbers including spirituals, music made forever iconic by Mahalia Jackson, a celebration of the musical and social contributions of Bob Marley, and much more, the vocalists - Dixon, Alana Bridgewater, Camille Eanga-Selenge, and Robert Ball allow us a glimpse into their souls with absolutely stunning performances. The equally excellent band behind them includes Dixon, Rohan Staton, Roger Williams, Paul Antonio, and Joe Bowden.

Of course, a 90 minute cabaret can only ever scratch the surface of the contributions of Black music, but it is evident that Dixon has taken great care to curate a show that highlights the depth and breadth of jazz, blues, reggae, and beyond, along with the significant contributions made by Black artists that led to music often associated with white artists. The song "Hound Dog" is a prime example of this. This song was Elvis Presley's longest number 1 hit in 1956, but "Big Mama" Thornton was actually the one to record it for the first time in 1952. Alana Bridgewater's rendition of this song is so good that it's the only version you're going to ever want to hear again.

Every vocalist is excellent. Bridgewater shows off her stunning lower register early on and continues to thrill with the power of her beautiful and unique voice throughout the evening. Dixon is a man possessed as he effortlessly transitions from singing to a harmonica solo, to..pushups (you read that right). His voice is captivating and his stage presence is second to none. Eanga-Selenge has a beautiful tone to her singing voice and a radiant presence. Her rendition of "Lift Every Voice and Sing" near the end of the show is absolutely gorgeous. Ball offers a lovely tenor voice to this quartet and he starts out grand and just seems to get better and better as the show progresses. He takes on Marvin Gaye's "What's Going On" with passion and a voice that's smooth as silk.

Audiences will hear several familiar tunes in this cabaret, including a series of Bob Marley hits, and Sam Cooke's poignant "Change is Gonna Come" but there will also be music that is less familiar to audience members and this is such a glorious way to be introduced to it. In addition to the music, the performers also provide some powerful readings and quotations. Leading into certain portions of the evening, the singers speak of the significance of styles of music and artists. For example, early on, Dixon describes how Blues music is able to capture both pain and humour and then later, makes a point to highlight the legacy of Bob Marley and what his music represents. The performers speak often of how Black music represents and calls for freedom - not just freedom for those who are oppressed, but freedom for all from the narrow supremacist ideals and beliefs that are ingrained in our society. We are brought to the present day when, during a song, Eanga-Selenge and Ball read the names of Black people who were victims of violence and police brutality, and the evening ends when everyone on stage raises a fist in the air to signify Black Power, Black Excellence, and Freedom from Oppression. This entire evening is in fact a celebration of Black excellence and it is one that will not be forgotten.

FREEDOM continues at the Festival Theatre Canopy until September 5th.

Photo Credit: David Hou

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