It’s 1937 and the Panama Limited train pulls out of Chicago heading to New Orleans on the eve of Joe Louis’s iconic win over defending World Heavyweight Champion James Braddock. Opening with the work chants of the black slaves who laid the very tracks the train is riding, Seattle Rep’s 50th anniversary season opener “Pullman Porter Blues” takes us on a figurative journey through African-American history personified in three generations of porters serving on the luxurious Pullman cars: Grandfather Monroe (Larry Marshall), only one generation away from slavery, his cheerful yessuh’s concealing a lifetime of insults borne; father Sylvester (Cleavant Derricks), his resentment barely concealed; and naïve son Cephas (Warner Miller), torn between becoming an educated professional and continuing the family tradition of service.
Despite the ambitious metaphoric themes in this world premiere play by award winning local playwright Cheryl L. West, what engages are the intergenerational personal conflicts between the three porters, West’s entertaining use of idiomatic language and the eye-opening perspective of a black porter aboard a luxury train that caters solely to wealthy whites – the whole served up with a rich mélange of live blues (arranged and conducted by Jmichael), soft shoe dancing and accomplished performances by all three male leads. Sweet-voiced, light-footed Broadway veteran Marshall is particularly delightful.
Sensational E. Faye Butler plays blues diva Sister Juba, her earthy sass a cover for a past tragedy. Butler’s rich vocalizations (that scarcely require miking), solos ranging from the melancholy to the joyous by Marshall, Derricks and Miller, the superb four piece band playing in their entirety blues standards such as “See See Rider” — these alone are worth the price of admission.
In spite of competent performances by both actors, West’s characterization of the two white roles is less successful. Train conductor Tex (Richard Ziman) carries the heavy burden of embodying racism. His character is so villainous that one almost expects him to twirl his mustaches; Ziman’s gleam of malicious humor adds some dimension. Emily Chisholm charms and plays a mean harmonica as train-hopping stowaway Lutie Duggernut, but she is more plot contrivance than fully fleshed.
The opening night audience applauded Riccardo Hernandez’s gorgeous set rich with the copper, brass and polished wood textures of a Pullman car. Costanza Romero’s costumes are spot on, especially Sister Juba’s colorful and alluring ensembles.
All in all, we are in good company on our journey with “Pullman Porter Blues.”
“Pullman Porter Blues” plays at the Seattle Repertory Theatre through October 28. For more information: www.seattlerep.org.