THE WIDOW AND MISS MAMIE

The Widow and miss Mamie . A musical comedy produced, written, and directed by accomplished commercial and industrial actress, Madame Lee Kirk.

The Widow and miss Mamie is a misnomer rather than a thematic title for this play. The reason being; the story was more about how "Big Willie" affected those he left  behind rather than the daily vissitudes of two middle age women fighting over a man.

But this is exactly what makes this musical farce so good and so true. People talk, gossip, have opinions, and can also be very false, but with a "sprinkle of sugar" in the mix.

This play also reveals something very intrinsically primal about how men and women relate and the common roles and expectations people place on one another. "Big Willie", (whom we never see) reminds me of the play by Anton Chekov, "The Cherry Orchard". We never "see" it, but it is implied. And yet, that cherry orchard was as  much a fixture of permanence, security, and continuity to the psyche of those characters in that play, that it became a metaphoric symbol of tragedy.

In the Widow and miss Mamie, "Big willie" represents to the collective of those he left behind (and affected) that very same "metaphoric impact." The only distinct difference is that The Cherry Orchard takes a more serious look at those social issues (still applicable today), and the Widow and miss Mamie represent a "parody" of those very same "issues"

It is safe to assume that life should not be taken so seriously. But then again, according to this musical comedy, neither should death. Although the obvious lesson is clear; "tell those close to you how you feel about them before they're gone, because when they are dead it won't matter," there is a more profoundly deeper "set of lessons" that this musical comedy reveals to us: One, men and women, wether single or married, are basically the same. The widow already has her "eye" on one man (even thou she mourns her husband). And although Big Willie cheated on his  wife with miss Mamie, he still showed his love and respect by showering her with "guilty gifts" after each affair: Two: men are instinctual primates that would take any "opportunity" available, when it comes to the opposite sex (as is evident with judge Armstrong, "eyeing" the widow and Rev. Passthebuck, also "eyeing" the women of his congregation): And three, a good joke deserves a good laugh!

There aren't many successful satirical or farce comedies that depict death as a natural part of life like this musical comedy does. In many endogenous cultures people eat, drink, sleep, and consult the dead on all aspect of daily life-and even downright "party" with them (just go to Mexico City, Mexico or Machupichu, Peru or even New Orleans-and you'll get the shock of your life!). Should we judge these cultures for not viewing and treating death as a catastrophic finality? Or should we embrace their "light hearted" philosophy that death, like every other aspect of the human condition, should be taken with a "grain of salt."

Lee kirk should be commended and nominated for an Audelco Award. As a first time playwright/director, this production was an outstanding achievement. Well written, well directed, and a remarkable ensemble of "seasoned" actors, make this musical a "must see"

Marvel Allen (the Widow) is excellent as the widow, her musical numbers resonate "chills" that can shatter glass. Equally a contender is Toni Seawright, potraying Miss Mamie (Ms. Seawright made history as the first African American Woman to win the coveted title of Miss Mississippi for that State, and was fourth runner up for Miss America, 1987), her explosive vocals really "drives it home"

Both women work and compliment each other very well on the stage (like Lucy Ricardo and Ethel Merce in the 1950's sitcom "I love Lucy"). Their duet during the funeral scene is absolutely delicious!

"Big Willie's friends, including his driver (played by Emory Porter, Rudel Drears, as Willie's friend with Larry Stephen Hines, as Charles. And veteran actor Cortez Nance, as the neighboring bartender) gives us clues as to the personality and character of the defunct. If you can recall the "rat pack" with Sammie Davis Jr., Frank Sinatra and the others, this "Pack" is similar, chasing women and causing  trouble around town. Their musical number was colorful, fun to watch. A similar scene is repeated  with Charles, his sister (played by veteran actress Gloria Sauve) and her daughter on stage (played by promising young actress Tianna Newkirk).

The Church Community, including Rev. Passthebuck (played by Z. Louis Finney), Judge Armstrong (played by Ward Nixon) and the bartender's wife, "the inquisitive neighbor" (played by veteran commercial actress, Marjorie Johnson),
and the rest of the cast were the "chorus" of the play, swaying back and forth in their seats with each passing song (to be honest, I was swaying back and forth myself!). The church mother (played by Cookie Winborn, who is asleep during the entire funeral reception, served as an excellent comic relief-singing an equally cute and engaging musical number. The audience joined in and were completely entertained, singing right along with her (so was I!)

And of course, we can't leave out the hilarious mortician, Mr. Bye bye (played by actor Tommie Thompson) who was absolutely hysterical with his neurotic, half crazed antics who really "spikes up" the party and clears the house!

The musical numbers really "tell the story" in a fluent, rhythmic fashion. The tunes were "catchy, warm, and witty." Ron Granger, the musical director did a splendid job. The set design and technical director, christopher Pierre provided a "quaint and moody" house, funeral parlor, and bar scenes with style, simplicity and high functionality, as if sitting in your own "living room." The lighting transitions between scenes was excellent.

The dance numbers, including the tap dancing sequences were orchestrated by Larry Stephen Hines, who is rapidly gaining recognition not only as a good actor, but an excellent dancer and choreographer as well.

The wardrobe design provided by Manet McDyer-Davis added on extra dimension and characterization to all the roles portrayed. It truly made a cohesive difference.

Special mention goes to stage manger Sir Louis Jones for running a smooth and professional "atmosphere of excellence"

I highly recommend this "stomach clenching" musical comedy which has me (after a week of having seen this show) still humming the tunes!

This lovely comedy will be running until October 17th, 2010 at the Harlem School for the Arts West 141st. Street and St. Nicholas, Harlem, New York.

Don't forget to log in their website,www.thewidowandmissmamie.com

The Widow and Miss Mamie receive five stars! Congratulations!!!