Tuesday, June 2, 2015

Review: 'Ethel'

Terry Burrell offers a girlish, often defiant Ethel Waters in the one-woman "Ethel!" at Walnut Street Theatre's third-stage Independence Studio. Inquirer theater critic Howard Shapiro reviews.

Review: 'Ethel'

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Terry Burrell as Ethel Waters in "Ethel!" at Walnut Street Theatre. Photo by Mark Garvin.

By Howard Shapiro

Once you’re gone, so are your rights to the way you’re portrayed. The sleazy Roy Cohn isn’t around to contest the character Tony Kushner assigns him in Angels in America (or my one-word characterization) and none of the Scottsboro Boys, from the recent musical about a horrible piece of ’30s American history, can challenge their stage depictions.

That brings us directly to the Walnut Street Theatre, where the late Ethel Waters is playing again, sort of, for the first time since 1949, when she was on the main stage in A Member of the Wedding. Now, on the third-floor stage in the Walnut’s Independence Studio series, the singer, actress and barrier-breaker is being re-enlivened by Broadway’s talented Terry Burrell (Threepenny Opera, Into the Woods, Dreamgirls), who’s written Ethel!, a one-woman show she delivers with oomph and vigor -- and a questionable depiction.

Her Ethel Waters, born of a rape at knifepoint in Chester, raised by a grandmom on Clifton Street in Center City and a hit singer in Harlem clubs in her mid-20s, is not the generally humble person portrayed here twice in recent years in another one-woman show called His Eye Is on the Sparrow, named for one of Waters’ great gospel songs. Maybe that Ethel Waters wasn’t so true-to-life, either. 

In Burrell, we have a completely different Waters. Ethel! plays on the performer’s reputation for distrusting white theater managers and some white colleagues (with justification), for suffering fools unhappily, and for doing things her own way.

Instead of Waters at the end of her life in 1977 when she’d become a star again with the Billy Graham Crusade — Burrell cleverly anticipates that — Ethel! shows us a younger, more vital woman in the 1940s, at an apartment in Harlem. This allows Burrell to plumb Water’s career when she was down-and-out and being hounded for back taxes, and before her career would revive. Up to this point, she’d been a performer with many firsts — among them, the first black actress to star in a Broadway play (Mamba’s Daughters in 1939) and  to appear with an otherwise all-white cast (As Thousands Cheer in 1933), as well as a big Columbia Records star.

What we get from Burrell, who, with pulled-back hair, looks much like Waters in mid-career pictures, is a girlish woman who tells stories on herself in a haughty black-mamma style popular in current film comedies: pursed lips, chin jutting defiantly to and fro, and a surfeit of att-ee-tood.

Burrell’s script gets the anecdotes right. But the portrayal, as entertaining as it is under Kenneth L. Robertson’s direction, is time-warped; it doesn’t seem real. The singing certainly does — backed surely by Aaron Graves on keyboards and Andrew Nelson on bass. Burrell delivers Waters best when she’s singing  “Stormy Weather,” “Cabin in the Sky” and other songs Waters  made famous. That’s when I thought Ethel Waters was once again at the Walnut.

Contact staff writer Howard Shapiro at 215-854-5727, hshapiro@phillynews.com, or #philastage on Twitter.


Ethel!: Presdented by Walnut Street Theatre, 825 Walnut St., through March 11. Tickets: $30. Information: 215-574-3550 or www.walnutstreettheatre.org.  T

About this blog

Toby Zinman's night job since 2006 is theater critic for the Inquirer where she reviews New York and London as well as Philadelphia. Her day job: Prize-winning prof at UArts, author of five books about modern and contemporary drama, and doer of scholarly deeds (winner of five NEH grants, Fulbright lecturer at Tel Aviv University, visiting professor in China). She was recently named by American Theatre magazine "one of the twelve most influential critics in America."

Wendy Rosenfield has written freelance features and theater reviews for The Inquirer since 2006. She was theater critic for the Philadelphia Weekly from 1995 to 2001, after which she enjoyed a five-year baby-raising sabbatical. She serves on the board of the American Theatre Critics Association, was a participant in the Bennington Writer's Workshop, a 2008 NEA/USC Fellow in Theater and Musical Theater, and twice was guest critic for the Kennedy Center American College Theater Festival's Region II National Critics Institute. She received her B.A. from Bennington College and her M.L.A. from the University of Pennsylvania. She also is a fiction writer, was proofreader to a swami, publications editor for the Women's International League for Peace and Freedom, and spends all her free time working out and driving people places. Follow her on Twitter @WendyRosenfield.

Jim Rutter has reviewed theater for The Inquirer since September, 2011. Since 2006, he covered dance, theater and opera for the Broad Street Review, and has also written for many suburban newspapers, including The Main Line Times. In 2009, the National Endowment for the Arts awarded him a Fellowship in Arts Journalism. Thames & Hudson released his updated and revised version of Ballet and Modern Dance in June, 2012. From 1998 to 2005, he taught philosophy and logic at Drexel, and then Widener University. He also coaches Olympic Weightlifting for Liberty Barbell, and has competed at the national level in that sport since 2001.

Merilyn Jackson regularly writes on dance for The Inquirer and other publications. She specializes in the arts, literature, food, travel, and Eastern European culture and politics. In 2001, she was dance critic in residence at the Festival of Contemporary Dance in Bytom, Poland; in 2005, she received an NEA Critics’ Fellowship to Duke University’s Institute for Dance Criticism. She likes to say that dance was her first love but that when she discovered writing she began to cheat on dance. Now that she writes about dance, she’s made an honest woman of herself, although she also writes poetry.

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