‘Passing Strange’ creator to challenge and honor author in Harlem Stage commission
Stew rarely takes the predictable route — at least in public.
So when the pop-song writer and founder of The Negro Problem ook the floor at Harlem Stage on Wednesday night for “Behind the Curtain: Stew,” a talk about his upcoming show in the beautiful Gatehouse theater, I had few expectations.
Would he talk? Would he offer a cynical take on “Notes of a Native Song,” the piece he’s creating as part of the Year of James Baldwin, which celebrates the 90th anniversary of his birth? Would he read from the show in progress? Would he perform some of the songs?
He did a little of most of those thing — with remarkable engagement and not a touch of cynicism.
Maybe the venue — in Harlem, in front of a crowd that seemed earnest and engaged, exhibiting little of the hipster affect often on display at the downtown and Brooklyn venues where Stew more often appears — had something to do with it.
But it was more than that.
“When artists talk, they, for the most part, lie,” Stew said at the outset of the evening.
I’m in no position to judge his truthfulness, but his presentation came across as warm, personable, and, honest, without a trace of pose or ennui. Stew appeared deeply engaged with his subject — his reaction to Baldwin, and Baldwin’s relationship with mentor and impediment Richard Wright.
If the artist was lying, it was a beautiful lie.
Stew held forth with only his guitar to accompany him as he opened the program with his laugh-inducing song “Black Men Ski.” While it wasn’t clear that he intends to include that song in the June show, it set the tone for the fun to follow.
He performed four other songs and fragments that apparently are part of the show, at least as it stands at this point in its development. Based on lyrical fragments, I’ll dub the three fleshed-out numbers “Brave, Suffering, Beautiful,” “Me, and You, and Jimmy,” and “Don’t Pray for the Boy Preacher” (with music, he said, by his longtime collaborator Heidi Rodewald). The fourth, of which he sang just a fragment — with some help from the audience with a spaghetti Western backing vocalization — cast Baldwin and Wright as gunslingers at High Noon in “Paris town.”
Given Stew’s position as a Tony-winning writer of rock musicals and other musical plays, such as “Passing Strange,” you might expect “Notes of a Native Song” will be another of those, given that it will have its premiere in a respected theater.
But, based on Stew’s description, that’s not the case. He said it’ll feature “some musicians” performing the songs with scripted rants between them, because he’s comfortable with the structure of a concert.
And don’t expect the “Ken Burns, PBS James Baldwin” in this show, either. Stew promises the unexpurgated Baldwin — a detail he underscored with his unrestrained language throughout the evening — including a declaration of love for speaking all of the names that used to label African Americans over the years.
Stew seems as engaged and exited by this project as anything I’ve seen him do in years. So by that measure, it’s a safe bet that “Notes of a Native Song” will be a gem.
Get your tickets now, because it’s a short run in a small theater (just 200 seats) and it will sell out quickly.
“Notes of a Native Song” will receive six performances (fours shows at 7:30 p.m., plus two 2 p.m. matinees) from Jun 3-7, at Harlem Stage, 150 Convent Avenue, Manhattan. Tickets for the show, featuring cabaret-style seating, are $55 and available by tapping or clicking here. Call 212-281-9240 or tap or click here for more information Harlem Stage and its offerings.