The Rep reopens – and with a world premiere. Dreaming Zenzile is based on the life story of Miriam Makeba, the singer-songwriter-activist. Probably a couple of generations are saying Who’s she?
A Black woman born in the townships of South Africa, she began singing with groups and was participated in Come Back, Africa, a film that was in the Venice Film Festival in 1959. She was brought to Venice for the festival. That kicked off her international career. Harry Belafonte was her mentor, she moved to New York and began singing in the New York jazz clubs, merging jazz and African styles. Record contracts and national television followed. Living in South Africa during apartheid would probably be enough to make anyone super-socially conscious, but when she tried to go home for her mother’s funeral, she found her South African passport had been canceled because she’d spoken out on racial issues. Over time, she became as well known as an activist as she was as a musician.
This is the woman that playwright Somi Kokoma introduces us to on the Rep stage. Kokoma, a singer and songwriter herself, plays Zenzile Miriam Makeba, whose first name was dropped as she began to sing professionally. Four other actors, Naledi Masilo, Phindile Wilson, Aaron Marcellus and Phumzile Sojola portray different people in Makeba’s life and are credited as the Sangoma Chorus – sangomas are traditional healers in southern Africa. We’re also in full sight of the musicians, Herve’ Samb (music director and guitar), Toru Dodo (piano), Sheldon Thwaites (drums) and Pathe’ Jassi (bass).
The story isn’t linear, but it’s fairly easy to follow, even though much of the first act isn’t in English. The music certainly is universal and comes from many sources, from Zulu through Afropop and the Great American Songbook to her own compositions. She sang in Swahili, Sotho and Xhosa, and, yes, Xhosa is one of the languages with the “click” consonant. In fact, one of Makeba’s hits was a traditional song that she recorded as “The Click Song” - you can hear it here . There’s also ululation, the warbling, high pitched back-of-the-mouth sound found through much of Africa, the Middle East and parts of Asia. I believe it’s the first time it’s heard on the Rep stage.
Kokoma certainly has the pipes to play Makeba; she sounds wonderful. And the chorus, especially singing a capella, are remarkable. The arrangements of the songs, many of which are done by Kokoma and Samb really resonate. And it’s fun to watch the band during the numbers that swing.
Lileana Blain-Cruz directs the ensemble. The set, a concert stage in Italy, is by Ricardo Hernandez with lighting by Yi Zhao and projections designer Hannah Wasileski, all very subtle to contrast with the music and action. Mimi Plange’s costumes move well, particularly in the second act.
The fly in the ointment for this otherwise-satisfying show is that the sound, especially in the first act, is often blurry, with the music overriding lyrics, even in English and the spoken word not resonating. This is not a house that generally has acoustic problems, so it’s particularly notable.
Still, a worthwhile evening for music lovers and those who want to learn more about a world-renown activist. You can learn more about Miriam Makeba on this from the Rep's website.
Dreaming Zenzile
through October 3
Repertory Theatre St. Louis
Loretto-Hilton Center for the Performing Arts
130 Edgar Rd., Webster Groves
314-968-4925
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