“Josephine Tonight,” at MetroStage, by no means offers a complete biography of the Josephine Baker who took the world by storm in the early 20th century. Instead, it’s a delightful sketch of the girl who grew up to be that woman, from her earliest days in Missouri to her first appearances in New York and Paris.
With book and lyrics by Sherman Yellen and music by Wally Harper, this “Josephine Tonight” owes its big, jazzy sound to music director, arranger and orchestrator David Alan Bunn. That sound, together with the look provided by director and choreographer Maurice Hines, are two elements that make this production so worthy, far more so than its rather thin book.
The third element that makes “Josephine Tonight” a production to reckon with is its cast, particularly Zurin Villanueva, an extremely talented young woman, who captures the enthusiasm and determination of Baker from the moment she first appears.
| Onstage |
| ‘Josephine Tonight’ |
| Where: MetroStage, 1201 North Royal St., Alexandria |
| When: Through March 18 |
| Info: $45 to $50; 703-548-9044; metrostage.org |
The story begins in St. Louis, where Josephine lived with her washerwoman mother, dancing on street corners to make ends meet. Aisha de Haas is sensational as Josephine’s loving, supportive mother. She also lights up the part of Bertha, the actress who first hires Josephine to perform in her vaudeville show.
James T. Lane excels as Eddie, the man who truly loved Josephine. In addition to being a dynamite tap dancer, Lane has an extraordinarily sweet tenor voice, making him irresistible in “Never Thought I’d Find You Tonight.” James Alexander and Debra Walton are vibrant in a variety of supporting roles.
Under Hines’ leadership, the musical soars from number to number, with superb dance routines illustrating everything from elaborate tap dancing to the Harlem Strut. Reggie Ray’s costumes are elegant evocations of several eras.
At the end, when Josephine must decide whether to break with the French producers who have shaped her career or go off to make more money, the book seems foreshortened and the musical ends rather awkwardly.
But by then, the cast has provided over two hours of nonstop, first-class entertainment and Villanueva is so enchanting — even when her Josephine is treating people badly — that it’s unnecessary to see any more of Josephine’s life. When she comes out for her last number, dressed in a shimmering long white, spangled dress, wearing a massive headdress of off-white peacock feathers, the next step is academic: this Josephine has seen the future and it is hers.
