Review of Don’t Miss Doris Hines
It may seem like a trite line, but it makes too good a point to pass up…Don’t miss Don’t Miss Doris Hines.
The new play, by talented playwright Tylie Shider, tells the unlikely story of singer Doris Hines, who went from talent show also-ran to international singing sensation. Hines broke down countless barriers along the way, earning the adoration of jazz legends like Duke Ellington, Nat King Cole, Ella Fitzgerald and Pearl Bailey.
Don’t Miss Doris Hines, playing through October 12 at St. Paul’s History Theatre, is not a musical, but rather a play with music. Through well-crafted, tightly paced scenes (credit to both Shider and director Vanessa Brooke Agnes) it tells the incredible story of Hines’ life, while showcasing the music that took her around the world, eventually landing her in the Twin Cities in 1963, where she brought her family and remained throughout her life. She passed away in 2015 at the age of 91.
Hines and her amazing talent is brought to life by the immensely talented Comfort Dolo. In her History Theatre debut, Dolo offers incredible acting range, going from giddy, lovestruck newlywed to determined performer, who believes enough in her talent to audition 17 times for the Arthur Godfrey Talent Scouts, eventually winning the competition. Dolo’s strong acting also takes us through Hines difficult marriage and her own struggles as a mother pulled away from her children as she works to carve out the better life that she knows her talent can bring. There’s a price to pay for committing to the pursuit of success as a performer, especially when that performer is a black woman in the 1950s and ‘60s with little support at home. Dolo makes us feel that struggle.
The second half of this challenging equation for Dolo is making the audience understand the talent Hines brought to her work. It’s a challenge Dolo meets and exceeds with tremendous power. Doris Hines was a four-octave contralto, and Dolo brings Hines talent to life. Dolo performs sections of various Hines songs rather than the full songs. The generous number of these snippets and the strong quality, aided by pianists Raymond Berg and Aaron Vandanacker, are a great showcase. They give us an understanding of the acclaim Hines received, while also leaving us wondering why she did not receive more.
In crafting this play, Shider had to decide if he was setting out to make a musical review or to write a play telling the complex story of a woman who, despite numerous difficulties, never stopped believing in her gift of song and the better life it could bring. He chose wisely.
Hines’ story, with Dolo in the driver’s seat, is well complemented in this production by a stellar cast. Darius Dotch, as Doris’ husband Edward “Big Ed” Hines, does a solid job playing the head of the family demanding his wife stay confined to the traditional homemaker role. We see Ed changed, both physically and emotionally, by the war. His desire to start and expand a business that will support his family is, he believes, at odds with Doris’ need to sing and launch her career. Dotch brings that old school, “I’m the King of this castle” mentality to life. He also demonstrates surprising tenderness when tragedy strikes the family.
Shider’s balance of story and song is one of a couple of balancing acts in the play. The other was between humor and pathos. Again, he made the right choices. Enter Ashawnti Sakina Ford as Doris’ sister-in-law Carmella Hines. In her first appearance on stage, the sassy Carmella is at odds with Doris, who comes to live with the Hines family after marrying Ed. The “this-house-ain’t-big-enough-for-the-both-of-us” dynamic starts from day one, and Carmella makes her point with the help of a visiting rodent. The skirmishes between the pair humorously continue until it’s surprisingly Carmella who helps Doris get her big break and the relationship takes a respectful turn. Ford plays the role with great comedic timing and poignant grace.
Charlotte McDaniel, who does triple duty as Ella Fitzgerald, Doris’ daughter Grace, and Catherine Burney, is far more than window dressing. She has an engaging stage presence in all her roles, but especially as the legendary Fitzgerald.
Neal Beckman plays Doris’ long-time manager Jerry Mayeron and is a constant, reassuring presence throughout. Beckman is very convincing as the stable guide who helped Hines navigate some very challenging waters. From racism to economics to family difficulties, Mayeron seemed to know just when to counsel, when to support and when to stay out of the way throughout Hines career and that care and loyalty come through in Beckman’s performance.
Another fine performance is turned in by the staging itself. With credit again to director Vanessa Brooke Agnes and the entire production team, the stage is used imaginatively, including the video screens bordering the stage and the projection on the love bead-esque stage curtain.
Shider talks about how he came to learn Doris’ story through her son, Gary, who was the founder of the Grammy-winning group Sounds of Blackness. Shider started out looking to write a play on Sound of Blackness. When he heard Gary talk about his Mother and her incredible life, however, he said he wanted to write a play about her. Gary fully supported the shift of attention.
Again, Shider chose wisely.
Photo credit: History Theatre, Rick Spaulding
