Justin Banks (L) and Dennis Cockrum in Golden Leaf Ragtime Blues at American Blues Theater (Photo by Michael Brosilow)
Somewhat Recommended
Feeling controlled by outside forces, two people on the opposite ends of life are each trying to manage their own destiny in the Chicago Premiere of Charles Smith’s “Golden Leaf Ragtime Blues” at American Blues Theater.
The scenic design of Shayna Patel with the considerable assistance of Properties Designer, Tyson Carter immediately has us interested to know who lives here, why does this look the way it does and what’s going to happen?
Set on the northside of Chicago sometime in the 1990s, the place is the apartment of Pompey (Dennis Cockrum), an eightyish, former vaudeville musical comedy entertainer whose living conditions indicate a chaotic and out-of-control life, stalled in the past.
Pompey harbors a desire to resurrect the old act with his performing partner Ollie (James Sherman) if only he could remember his lines and Ollie can stay alive.
As a result of a visit from his social worker daughter, Marsha (Dawn Bach), Pompey finds himself reluctantly spending time with an African-American teenaged male J’Taurius a/k/a “Jet” (Justin Banks).
It is immediately clear that the two have nothing in common, have no desire to be in each other’s company and are outwardly hostile to one another. Of course, they ultimately find a reason to converse, finding a way to make a connection through their mutual love of music.
Directed by Chuck Smith, both he and author Charles Smith (no relation) are reunited again after their recent successful collaboration on “The Reclamation of Madison Hemings” also at ABT.
The two dramas share a few similarities, both being essentially an extended dialog between two main characters dealing with themes of racial inequities and the influence of outside forces on the trajectory of their lives. However, this production by comparison seems not as well conceived and the dialog to my ears is unrealistic and tedious at times. The players are competent enough but (with the exception of Sherman) seem to be struggling to find a natural conversational rhythm.
Overall, this comes across as a kind of sitcom repartee that we have come to accept as authentic dialog but is simply an exchange of sassy words and pithy phrases mostly devoid of actual emotion. What stands in for emotion are a few exclamatory outbursts that seem assaulting.
The content of “Golden Leaf Ragtime Blues” might be enlightening for some people who perhaps do not live in an urban community or maybe are not much tuned-in or exposed to the plight of disenfranchised youth or struggling elderly. Originally conceived in 1987 it might have been a little more cutting-edge at the time.
I’ve had some experience in the not-for-profit social service world that includes working with the National Runaway and Suicide Prevention Hotline. I also have had two good friends who were social workers dealing with foster children so perhaps I am interjecting my own biases.
I’m concerned for kids who are stuck in a seemingly endless cycle of superficial, temporary and often punitive care. I’m also concerned about overlooked and neglected seniors with dwindling support systems who still have dreams and a desire to continue contributing to life.
For me this particular example leans too heavily on stereotypical attitudes without providing much insight toward furthering our understanding of isolation, except to acknowledge it is a concern that often goes unaddressed combined with a message that for some, the solution might be finding the wherewithal to take responsibility for ourselves.
Details: “Golden Leaf Ragtime Blues” at American Blues Theater, 5627 N Lincoln Ave., Chicago May 23 – June 29,2025, running time 90 minutes with no intermission. Tickets at www.americanbluestheater.com or (773) 654-3103.
Reviewer: Reno Lovison