REVIEW: Lady Day at Emerson’s Bar & Grill (Mosaic)
Happy 10th Anniversary season to Mosaic! The H Street mainstay has become one of the hottest venues for theatre in recent years, often putting on bold and exciting works that make the X2 bus ride well worth the hustle. Kicking things off for 24-25 is Lady Day at Emerson’s Bar & Grill, a revue of Billie Holiday’s life told from her perspective at one of her final shows. The production links DC’s own Roz White with skipper Reginald Douglas (Mosaic’s Artistic Director).
Book
Lanie Robertson adopts a biographical sensuality for the play. As much as it is a documentary about Billie Holiday — who’s introduced to us as a washed-up felon — it also tries to vehicle as a commentary on greater society. A simple revue of this legendary jazz singer it is not. In fact, it quickly becomes a sucker-punching voyeur of a prominent Black woman’s descent into drug-addicted psychosis during a live performance, with her rendition of songs interspersed. It feels less like a celebration and more of a pity-party. Granted, this isn’t even the book’s flaw: that would be its thin script, which tries to tell her life story using as many instances of the word “shit” as possible over 90 minutes. In the Jukebox Era of American theatre, presenting the musical subject like this is a welcome take, but it could use greater texture. 6/10
Acting
Roz White is back from the tour of Tina to take the reins of Lady Day. She’s the only character, save for the occasional inputs of her careful bandleader (William Knowles). Well-known as a terrific singer and actress around these parts, I was surprised that she didn’t vocally remind me of Holiday. Yet, her dramatic turns were profound. As each second passes, her care for either her well being or the sanctity of the show diminishes. It’s equally heartbreaking and engaging as White teeters the legend of Lady Day with the life of a regular Black woman in the 1950’s. 7/10
Production
Nadir Bey’s intimate nightclub set expels itself from the stage, smattering broody after-midnight vibes around the space. Warm bulbs hover above the audience as Holiday croons from his brick-and-mortar set, adorned with jazz posters and a triumphant neon sign reading “EMERSON’S”. That’s not Jesse Belsky’s only lighting achievement, as the backlighting sways from fiery, trailblazing motifs to gloomy violets that depict Lady Day’s lowest points. Knowles directs the other two musicians (Greg Holloway on drums, Mark Saltman on the upright) with precision, allowing jazz to waft concordantly through everyone’s ears. 8/10
Viz
As mentioned, this is presented as a light-hearted revue, which could be misleading if you’re not expecting her to nod off into heroin withdrawal several times in the final third. But you’re welcomed into all of this with a pretty nightclub arrangement of Mosaic’s black box, complete with luxe velvet benches that flank an array of cabaret tables. 6/10
Verdict
Lady Day is an unexpectedly dark piece to open Mosaic’s season with, but provides a solid visual and musical payoff for those who stick around for it. 27/40
