'Funk' makes noise at Fisher

When Savion Glover was just 12 years old, he stunned moviehouse audiences with his fast-tapping dance style in the 1985 movie "The Tap Dance Kid." Under the auspices of tap king Gregory Hines, Glover learned the tricks of the tap dancing trade, and went on to become the best-known dancer on Broadway today. Hines' most recent stage endeavor was 1992's "Jelly's Last Jam," a musical based on the life of jazzman Jelly Roll Morton. Glover appeared as young Jelly while Hines portrayed older Jelly. It was during this run that Glover began designing ideas for a new show, which would eventually become "Bring in 'Da Noise, Bring in 'Da Funk." Not until 1996 did it open on Broadway when director George C. Wolfe and choreographer Glover moved the venue from the Public Theater to Broadway's Ambassador Theater, where it received rave reviews.

There's plenty of noise and fun in this rollicking depiction of African-Americans during the Industrial Revolution.

The national tour of the Broadway production opened last week at Detroit's Fisher Theater. The tour features the same influence and musical numbers that shaped the Broadway show, including direction by George C. Wolfe and choreography by Savion Glover.

Apart from sending a reaffirmation of dance in the Broadway musical (a majority of new musicals have abused the music and special effects of theater), "Noise/Funk" also gave a new hope to the American stage musical. It brought with it a new view of what theater means to modern audiences, and its success has proved that the artform will never die.

"Bring in 'Da Noise, Bring in 'Da Funk" has been successful not because of its implication of dance, but because of its entertaining artistry that redefines what audiences come to the theater to witness. "Noise/Funk" shows us once again why dance is so important in the theater; it is a no-holds-barred presentation of all that has the beat.

REVIEW
	Bring in 'Da Noise, Bring in 'Da Funk Oct. 2, 1997 Fisher Theater

"'Da Beat," as it is commonly referred to in the production, is the basis for the show's plot. The musical presents the history of 'da beat as the rhythm of the dance. 'Da Beat is followed from early slavery days of the Unites States up through the current Hip Hop/Rap era of our current decade. We are allowed to witness not only the development and evolution of 'da Beat, but also a slight glimpse into a partial history of Black America. 'Da Beat is also the main character of the show, played on Broadway by Glover himself, and by Derick K. Grant in the national tour.

The show is not all dance however. There is one solo vocalist who carries the singing aspect of the production. 'Da Voice, as she is referred, is played by Vickilyn Reynolds in the current national tour. Reynolds is a vocal powerhouse. Her interpretation of 'da Voice proves emotional and moving.

Her gospel-like vocal quality takes one to the confines of a Baptist African-American church service. Her voice is a treasure from a supreme being, and she bestows it upon the show like a blessing. She is the only actual singer in the show and she provides most of the background vocalizing as well. Her amazing talent is alone worth the price of admission.

"Noise/Funk" is structured into 26 musical numbers. Each number has a theme and presents a way in which 'da Beat is passed on from generation to generation. "Slave Ships," one of the show's first numbers, illustrates the way in which the 'da Beat began on a slave ship, making its way from Africa to the Unites States. When the slaves were denied use of drums by their slave drivers, they carried 'da Beat in their hearts and voices, and later applied it in their dancing.

One emotional number, "The Lynching Blues," tells of a long-forgotten incident in American history when 50 African-Americans were slain in 1916 Georgia. The dancing sequence is raw and evokes a sad atmosphere of the brutality and inhumane treatment that occupied the early part of this century.

Vickilyn Reynolds is featured in "Funk."

A highlight of the production is undoubtedly "The Panhandlers," a scene in which the show's two drummers emerge wearing costumes composed of different-sized pots and pans. Using two drumsticks apiece, each drummer whips out rhythm and song on a framework of metal as well as each other, providing one of the many showstopping numbers that the musical has to offer.

The hard-lined complexity of the Blue Collar Working America is showcased in "Industrialization," a scene in which four dancers and two percussionists develop a factory machine using nothing but themselves, a steel framework and chains. Complete with steam and lighting effects, this number is definitely a highlight of the play.

The talent of Derick K. Grant is highly expressed in the number "Green, Chaney, Buster, Slyde," a scene in which the history of tap dancing is delivered by illustrating the styles that each of these dancers contributed to the world. Grant performs the dances in front of a set of three mirrors that face the audience under a single spotlight that shines from overhead. Grant's talent is amazing and leaves no longing for Glover's expertise. He handles the shifts from each dancer's style with ease, making the ability seem less complex.

The transfer of tap dancing into the world of hip-hop seemed a strange and frightening possibility, but after witnessing the show's final number, audience members experienced what is probably some of the best dancing to be featured onstage in quite some time. Transferring 'da Beat from stage to audience probably was not Wolfe's and Glover's original intentions. When middle-aged to elderly women are found dancing upon their exit from the theater, it can be assured that one has experienced a quality display of talent and entertainment.

"Bring in 'Da Noise, Bring in 'Da Funk" will be playing at Detroit's Fisher Theater through November 2. For ticket information call the Fisher Theater (313) 872-1000, or Ticketmaster (248) 645-6666.

10-10-97