Holler if Ya Hear Me
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Cititour.com Review
There’s a lot to be said about the struggles of poor African-American youth and persistent racism in America through the words of the late rapper-poet Tupac Shakur, and it all comes through loud and clear in “Holler If Ya Hear Me,” the exceedingly well-meaning and consistently engaging new Broadway musical at the Palace Theatre. Given smart musical arrangements by Daryl Waters, Shakur’s impressive compositions, including “Dopefiend’s Diner,” “Dear Mama,” “Unconditional Love,” and “Thugs Mansion” become accessible to even the most mainstream audience while still retaining their lyrical power.
So why isn’t this show a must-see, or even the next “Rent” or “In the Heights?” The primary fault lies with book writer Todd Kreidler, who needed to work much harder to flesh out both the basic story and the characterizations of the lead players so that the piece doesn’t ultimately feel like a modern-day (and decidedly overlong) take on the old-fashioned ABC “Afternoon Special.”
The show’s too-basic story centers on childhood friends John (a remarkably intense Saul Williams), who comes back to his old neighborhood after being released from jail looking for a more peaceful life, and Vertus (the ultra-talented, likeable Christopher Jackson), whose main interests remain gaining power and money. Shortly after John’s release, Vertus’ hard-working younger brother Benny is shot in an act of random violence, which leads to the possibility of a gang war. But ultimately the pair end up the same side, both trying to stop the seemingly endless circle of senseless death that infects their society (and society as a whole).
2014 Tony Award winner Kenny Leon’s direction is quite strong, especially guiding his cast (which includes getting first-rate work from John Earl Jerks as a crazed preacher and Dyllon Burnside as the hotheaded youngster Anthony), and scenic designer Edward Pierce and projection designer Zachary Borovay make inventive use of the Palace’s almost bare stage. But I expected a lot more movement and stronger dancing than the veteran choreographer Wayne Cilento delivers.
More damaging, both John and Vertus’ characters change their basic cores rather too quickly, as does Griffin (an excellent Ben Thompson), the young white mechanic who befriends the guys, but still sprouts some horrendous invective simply because the script calls for it. Moreover, too many of the songs deliver the same message and, as is true of any kind of “jukebox” musical, a couple of the numbers seem shoehorned into the show, rather than serving an organic purpose.
Less surprisingly, but even more sadly, the musical gives incredibly short shrift to its women. Corinne, John’s former flame who took up with Vertus, is a cipher on the page, but the wondrous, strong-voiced Saycon Sengbloh gives her sufficient depth to have us care about her. Even less developed is the character of Vertus and Benny’s mother, Mrs. Weston, a reformed crack addict, but the invaluable Tony winner Tonya Pinkins does everything in her considerable power to flesh her out.
Whether “Holler If Ya Hear Me” can find a sufficient audience to pay attention remains to be seen, but even with its flaws, it’s worth lending an ear.
By Brian Scott Lipton
Visit the Site
http://hollerifyahearme.com
Cast
Saul Williams, Christopher Jackson, Saycon Sengbloh, Ben Thompson, John Earl Jelks, Joshua Boone, Dyllon Burnside, Tonya Pinkins
Open/Close Dates
Opening 6/18/2014
Closing 7/20/2014
Preview Open/ Preview Close Dates
Preview Opening 6/2/2014
Closing Open-ended
Box Office
877-250-2929
Theatre Info
Palace Theatre
1564 Broadway (at 47th Street)
New York, NY 10036
Map
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