In Black Ensemble Theater’s new jukebox musical, “Blue Heaven,” the dearly departed wait to enter paradise, not in a fiery purgatory where they are purified of their sins, but in a cool club called Pearly’s where they learn to forgive themselves for the regrets they carry into the afterlife. On the night we visit this celestial music venue, four late blues legends — Howlin’ Wolf, Big Mama Thornton, Muddy Waters and Stevie Ray Vaughan — welcome the recently passed B.B. King and prepare him to go through the pearly gates.
The five musicians perform more than two dozen blues hits of the 20th century, interspersed with group therapy-like moments as they recall difficult memories from their personal lives and careers. Written and directed by Daryl D. Brooks, the show has a simple plot that is warmhearted and sincere, almost syrupy sweet, but the musical performances are the real draw.
Accompanied by a live band, the cast members are all excellent singers who sound at home in the genre and perform with such charisma that many audience members were clapping along — and some were standing to dance — by the final number. Lyle Miller’s deep, gravelly portrayal of Howlin’ Wolf contrasts with Dwight Neal’s rich baritone as Muddy Waters, while Miciah Lathan delivers thrilling riffs in the only female role, Big Mama Thornton. Billy Rude (Stevie Ray Vaughan) and Aaron Reese Boseman (B.B. King) both play guitar as well as sing; Rude has some particularly impressive solos, one of which is performed with the instrument behind his back.
Under the leadership of keyboardist Adam Sherrod, the musicians of the band also deserve special mention: Charles Dubose on guitar the night I saw, Mark Miller on bass and Myron Cherry on drums. While they rarely take the spotlight as soloists in this production, the instrumentalists seamlessly collaborate with the actors in a way that seems organic yet polished.
Although there are no clear scene changes or intermission, the action is roughly divided into four sections. The original four characters each perform an introductory song, and after B.B. King joins them, all five reminisce about the artists that inspired their own musical development and sing numbers by them. Then, each gives a short monologue, with an accompanying song, about the pain and guilt they’ve had to let go of in order to find peace. During the celebratory finale sequence, the actors appear in resplendent costumes designed by Marquecia Jordan, who liberally uses metallics and sequins to signify the angelic company these singers will keep for eternity.
While it’s not the most compelling element of the show, the plot emphasizes the valuable message that forgiving yourself is equally important as seeking the forgiveness of others — and that both forms of forgiveness can take a long time, perhaps more than a lifetime. The tone takes a serious turn, and the pace lags a bit, as the characters share details of their past.
Howlin’ Wolf struggles with feeling abandoned by his mother, while B.B. King wishes he had spent more time with his own children. Stevie Ray Vaughan recounts his addiction to drugs and alcohol, as well as his untimely death in a helicopter crash not long after getting sober. Big Mama Thornton is haunted by the accidental gun death of a fellow musician that she witnessed early in her career. Muddy Waters, the father of modern Chicago blues, regrets changing his musical style — or selling out, as he sees it — in a midcareer attempt to stay relevant.
These brief biographical episodes provide glimpses into real events in these singers’ lives, but there’s little room for deeper character development, given the structure. They mainly serve to amplify the repetitive platitudes about forgiving oneself, which comes across as preachy by the end. Then again, this show does take place on heaven’s doorstep, so a little preaching is, well, forgivable.
In case I haven’t made it clear: the music alone makes “Blue Heaven” worth seeing. If you’re someone who feels more comfortable in a theater than at a music gig, this is your chance to experience the best of both worlds — although, fair warning, your ears will probably ring a bit afterward. Even if blues isn’t your usual genre of choice, the energy and talent on stage are irresistible.
This story has been updated with the names of band members.
Emily McClanathan is a freelance critic.
Review: “Blue Heaven” (3 stars)
When: Through Nov. 27
Where: Black Ensemble Theater, 4450 N. Clark Street in Chicago
Running time: 1 hour, 30 minutes
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Tickets: $55 at 773-769-4451 and blackensemble.org