Posts Tagged Jamecia Bennett

Stars of MARIE AND ROSETTA to play the Dakota!

On April 21st, Jamecia Bennett and Rajané Katurah Brown will return to the Dakota Jazz Club for a one-night-only performance of the music from Park Square’s hit production Marie and Rosetta, a tribute to gospel and rock legend, Sister Rosetta Tharpe and her protege Marie Knight.

In the play, Sister Rosetta states, “I brought a little church to the nightclub, and a little nightclub to the church,” making it a perfect show for a family outing on Easter Sunday.

Sunday April 21. 7:00 pm
Dakota Jazz Club
1010 Nicollet Mall, Minneapolis
For tickets visit www.dakotacooks.com

Jamecia Bennett and Rajané Katurah Brown at The Dakota in January 2019. Photo by Connie Shaver.

“Stars from Sister Rosetta Tharpe play adapt wonderfully to the Dakota”
Star Tribune

Bringing fierce guitar playing and swing to gospel music, Sister Rosetta Tharpe influenced rock musicians from Elvis to Jimi Hendrix and Ray Charles. Jamecia Bennett (lead singer of Sounds of Blackness) and Rajané Katurah Brown (Star Tribune “9 Artists to Watch in 2019”) present an a tribute not to be missed!

An interview with Jamecia Bennett

“I had no fear of standing up for someone who isn’t able now to do it for herself.”

In the Star Tribune review, Chris Hewitt writes, “anyone who has seen Jamecia Bennett, lead singer of Sounds’ of Blackness, in theatrical productions has probably had the sense that we’re only getting a part of her… Here, the gloves are off and Bennett delivers a musical performance of raw searing power.”

Park Square’s Lindsay Christensen got to ask Ms. Bennett a few more personal questions about what it was like to bring her own story and values to the production of Marie and Rosetta.


LC: What was your very first memory with music?

Jamecia Bennett

JB: My First memory of music was at 4 years old! My mother, Grammy Award winner Ann Nesby, would sit me at the piano and she would teach me harmony while she played and sang with me! I actually stood on a chair to sing and direct the church choir, as per the reference [in Marie and Rosetta] that Rosetta gives to her standing on a piano so people could see her!

LC: What did it mean to you to step into Sister Rosetta’s shoes?

JB: Stepping  into the shoes of Sister Rosetta meant a great deal. I knew that I was gonna have to be responsible to tell and sell her story in and hour and thirty minutes to people that may or may not have an idea of who she was! Learning her background and how she moved, who she had in her atmosphere, to me determined how I would deliver my lines. Straight to the point but knowing that she was raised by her mother so she had a nurturing side about her as well. But knowing first that I had to know the power of her music and what it meant to her.

LC: Did you have any fear or nerves?

JB: I didn’t have any fear… now I did have a pause in time when i saw how many lines in the show I had! LOL! But I had no fear of standing up for someone who isn’t able now to do it for herself.

Jamecia Bennett as Sister Rosetta Tharpe. Photo by Petronella J. Ytsma.

LC: What was the biggest challenge about bringing her to life?

JB: The biggest challenge of bringing her to life was rehashing all of the memories of my now passed on grandmother, Shirley Bennett, who spoke of her and Mahalia Jackson often. So some of the songs it’s hard to get through. But Rosetta is a straight shooter and to hear all of what she had to go through with the church, men, and just by being black and a woman in that time was kinda hard. So finding the right momentum of each song , the lines spoken and the playing of her guitar had to be consistent homework because it had to look real. If one of the three strong things mentioned was off, it would draw attention to it and take away from the message I was trying to present and the hardworking performer she was!

LC: If Rosetta was alive, what do you think her reaction would be to music today, especially given the negativity she faced toeing the line between secular and church music?

JB: I think she would be a force still. Nothing could stand in her way. I believe she would be respected much on the lines of Aretha Franklin. Which I may add, Aretha dealt with the same circumstances. Rosetta would be the Queen of Rock and Roll alive as she is now passed on.

Jamecia Bennett as Sister Rosetta Tharpe. Background: Rajané Katurah Brown. Photo by Terry Gydesen.

LC: Can you share an experience you’ve had of people coming together around – or being moved by –  the power of music or theatre?

JB: I’ve had plenty of experiences with people being moved with theatre and music especially with this show. To see the faces of people in the audience crying when they hear one of the songs in this show I sing, “Look Down The Line,” lets me know that love and loss doesn’t have a color. We all bleed the same color blood. I love to hear the harmony of laughter together at the monologues whether it be race sensitive or not. We get the opportunity to laugh and cry together.

LC: What is one thing, or a single word, you hope audiences take away after seeing Marie and Rosetta?

JB: Whether it’s suffering or celebration it’s all about Joy! 

Learn more about Jamecia Bennett at www.jameciabennett.com, and at www.soundsofblackness.org. Follow her on Facebook and Instagram @jameciabennett.

Rajané Katurah Brown and Jamecia Bennett. Photo by Petronella J. Ytsma.

MARIE AND ROSETTA runs through December 30. Matinee added Sat, Dec 29 at 2:00 pm. Buy tickets here.


Lindsay Christensen Park Square’s Group Sales and Development Associate and a fierce freelance stage manager and graduate student pursuing a degree in Arts and Cultural Management at Saint Mary’s University of Minnesota. 

Mississippi, 1946

“WE STEP OFF STAGE AND WE GOT TO DISAPPEAR”: MISSISSIPPI, 1946

by Morgan Holmes, dramaturg for Marie and Rosetta

When Sister Rosetta Tharpe and Marie Knight became an act in 1946 and set off on tour, the separate but equal doctrine of Jim Crow law was in full force. And it would be nearly a decade before Jet magazine published the funeral photos of Emmett Till, whose grotesque 1955 lynching in Mississippi was a flash point for the burgeoning Civil Rights Movement. While the explicit image of “white only” signs define the doctrine in the American consciousness, Jim Crow would play out in more complicated ways for Tharpe, as she worked to make a name for herself on the road.

DANGEROUS ROADS

“The rules that defined a group’s supremacy were so tightly wound as to put pressure on everyone trying to stay within the narrow confines of acceptability.”
– from Isabel Wilkerson’s The Warmth of Other Suns: The Epic Story of America’s Great Migration

It’s impossible to overstate how every aspect of white and black society was regulated under Jim Crow, from 1860s Reconstruction to the 1964 Civil Rights Act. Separate but equal facilities (i.e. entrances, waiting rooms, elevators) and institutions (i.e. hospitals, schools), hampered black social mobility and dignity, as well as literal mobility across the United States. Though growing access to the automobile in the 20s and 30s offered them independence from segregated buses and train cars, African-American travelers could find themselves on the road without a gas station, diner, hotel, or even bathroom at which to stop permissively and safely, especially in sundown towns, where imposed curfews and intimidating residents drove non-whites from the public sphere after dark. For the limited white-black interactions allowed, perceived disrespect was a capital offense. In Mississippi alone, white mobs, riled up with economic anxiety over the loss of black workforce to the Great Migration, and fear of job and social competition with those who remained, lynched 15 of the 33 total lynching victims on record for 1940-1949 in the U.S.

Jamecia Bennett, left, as Sister Rosetta Tharpe. Rajané Katurah Brown as Marie Knight. Photo by Petronella J. Ytsma.

TOURING THE GOSPEL HIGHWAY

“We always had to stay at someone’s house. Or you lived on that bus.”

-Singer Ruth Brown, Shout, Sister, Shout!: The Untold Story of Rock-and-Roll Trailblazer Sister Rosetta Tharpe

While Jim Crow worked to make the world impossible for African-Americans to navigate, the proliferation of the black church provided a sanctuary for community gathering. By the 1940s, there were over 3,000 black churches in Mississippi serving about 500,000 congregants, or 50% of the state’s African-American population. Each denomination developed a unique relationship to the secular world, from the Baptists’ political organization around civil rights, to the Church of God in Christ’s evangelical missionary work that birthed a circuit of churches and revival events across the nation. The circuit provided a stage, a built-in audience, and most importantly, easily attainable meal and board for a generation of singers who could not find commercial success in the secular, segregated music industry. Tharpe received her first radio plays from Sunday broadcasts of services at Miami Temple in Florida, attracting white audiences to the unusually integrated COGIC church and the gospel sound.

GOOD SAMARITANS

“It will be a great day for us to suspend this publication for then we can go wherever we please, and without embarrassment.”

– Victor H. Green, introduction to the 1949 edition of The Negro Motorist’s Green-Book

In spite of the dangers and difficulties, African-Americans persisted in travel, subverting the status quo by packing their own meals, hiring white drivers to assist them and consulting national travel guides to plan their stops. Harlem letter carrier and activist Victor H. Green collected the classifieds of businesses nationwide that were proven safe for black travelers, and published them annually in the most popular guide, The Negro Motorist’s Green-Book, from 1936 to 1967. Mississippi’s listings expanded from only a few hotels and bed & breakfast-like “tourist homes” in 1940, to include restaurants, service stations, nightclubs, funeral homes, beauty parlors, barbershops, and a Jackson skating rink by 1949.

In a move befitting the gospel rock star, Tharpe gained further independence in the 1950s, after buying a tour bus to refurbish as a dressing room and place to sleep for her and her backup singers, The Rosettes. While Tharpe’s music may oscillate from obscurity to popularity to forgotten again, it is her own resilience – on the road and through the music industry – that allowed her story to survive.

Coming Next: Rosetta, Marie and Mahalia

 

Morgan Holmes is an all-around theatermaker – writing, directing, dramaturging and administrating across the Twin Cities. She is most interested in identity, ritual, intimacy, and internet culture, which she explores as co-creator of Perspectives Theater Company.

Marie and Rosetta is on stage now through Dec 30, starring Jamecia Bennett and Rajané Katurah Brown. Tickets available at parksquaretheatre.org or 651.291.7005.

Godly vs. Worldly: the competing forces of Sister Rosetta’s musical rise

GODLY VS. WORLDLY:

THE COMPETING FORCES OF SISTER ROSETTA’S MUSICAL RISE

by Morgan Holmes, dramaturg for Marie and Rosetta

It’s easy enough to look at Sister Rosetta Tharpe’s life and conclude that her innovative, genre-bending musicianship was “ahead of its time.” How else could such a public and internationally beloved figure wind up buried in an unmarked Philadelphia grave? But – much like our own pop stars who burn brightly, then fizzle out with fans as they experiment with sounds, personas, and public identities (Taylor Swift’s varied success in pop and political crossover, for example) – Tharpe’s career was precisely the product of her time. Throughout her rise, she was activated by and reactive to the sanctity and secularism that marked her world.

THE DELTA BLUES MIGRATE NORTH

The same beat that Black folks dance to on Saturday night is the same beat that they shout to on a Sunday morning” -Reverend Dr. Wyatt Tee Walker, People Get Ready!: A New History of Black Gospel

Jamecia Bennett as Sister Rosetta Tharpe

Increased opportunity of industrialization in the north, as well as the promise of better treatment, drew 1.6 million African-Americans north from the 1910s to the Depression, in the first period of black urbanization dubbed the Great Migration. Among the millions, evangelist missionary Katie Bell Nubin left her husband and sharecropper past in rural Arkansas in the early 1920s, to move her daughter, Rosetta, north to Chicago. The migration also brought north the artistry and improvisation of the delta blues, where it coalesced with the call-and-response format of Negro spirituals, birthing gospel. Gospel Chicagoans Mahalia Jackson’s vocal stylings reminiscent of Bessie Smith, and Arizona Juanita Dranes, who used her piano as an extension of her voice rather than its traditional use as an accompaniment to the soloist or choir, influenced Tharpe’s own guitar-picking and singing.

THE CHURCH OF GOD IN CHRIST’S INFLUENCE

make a joyful noise unto the Lord, all the earth: make a loud noise, and rejoice, and sing praise” -Psalm 98:4

Jamecia Bennett as Sister Rosetta Tharpe, Rajané Katurah Brown as Marie Knight

Sprung from the roots of the Holiness movement, which avowed outward displays of holiness like modest dress, sobriety or “clean living,” and avoiding worldly activities, the Pentacostal denomination Church of God in Christ (COGIC) spread like wildfire across the South, traveling north with the Great Migration. Music as an outward expression of faith was also a tenet of COGIC worship. This tenet influenced the gospel sound – a loud, joyous, testimonial sound. Tharpe began her own career performing at Chicago’s Fortieth Street COGIC and touring COGIC circuit with her mother and first husband, preacher Thomas Tharpe.

 

 

 

SWINGING THE GOSPEL

Even though I was just a child, I knew immediately that this woman was playing a different kind of music. It was gospel, but the way she put it across, in her bluesy-jazzy style, was a real ‘revelation’ […] a real ‘bad’ groove.”

-Singer Etta James, Heart & Soul: A Celebration of Black Music Style in America, 1930-1975

By the time blues pianist Thomas A. Dorsey codified the genre through his sheet music publishing company, Tharpe had already begun innovating gospel further. Whether disillusioned from the restrictions of poverty, her abusive first marriage, or the conservative COGIC, she traded the sanctified audience that nurtured her for commercial success on the Harlem club circuit, where she hobnobbed with Duke Ellington, Louis Armstrong and big bands like Cab Calloway’s. Unsurprisingly American pop music’s syncopated groove crept into her gospel, as evidenced by her 1938 Decca hit “Rock Me,” a secular version of Dorsey’s “Hide Me in Thy Bosom.” Swinging the gospel won her a mainstream audience but came with its own restrictions, like singing in low-brow vaudeville, burlesque and minstrel revues at the white-only Cotton Club. At the clubs, the testimonial spirit of gospel was mocked, satirized, and whitewashed in “Saint and Sinner” acts. Yet Tharpe stuck to her faith, walking the ambiguous line between spiritual and secular – sometimes successfully, sometimes at the cost of her career.

Coming Next: Mississippi in 1946: the hazards Sister Rosetta faced traveling in the south.

Marie and Rosetta is on stage now through Dec 30, starring Jamecia Bennett and Rajané Katurah Brown. Tickets available at parksquaretheatre.org or 651.291.7005.

Morgan Holmes is an all-around theatermaker – writing, directing, dramaturging and administrating across the Twin Cities. She is most interested in identity, ritual, intimacy, and internet culture, which she explores as co-creator of Perspectives Theater Company.

A Biographical Timeline of Sister Rosetta Tharpe

Looking to learn a little more about Sister Rosetta Tharpe before seeing Marie and Rosetta? Here is brief timeline of the life and music of this trailblazing and and influential artist! Marie and Rosetta is on stage Nov 23-Dec 30. Buy Tickets Here!

A Biographical Timeline of Sister Rosetta Tharpe

Researched and Compiled by Morgan Holmes, Marie and Rosetta Dramaturg

The Early Years

1915 Rosetta Atkins is born in Cotton Plant, Arkansas, on March 20. Soon after, mother and evangelist preacher Katie Bell Nubin separates from her husband and relocates Rosetta to Chicago.

1920s-30s Rosetta performs with Katie Bell at Fortieth Street Church of God in Christ. The duo tour Chicago’s Maxwell Street market and the Church of God in Christ (COGIC) circuit of the South. Her acclaim as a gospel singer and guitar player grows.

Jamecia Bennett* as Sister Rosetta Tharpe.

1934 Marries COGIC preacher Thomas Tharpe.

1938 Joins revue cast at the Cotton Club and records her first Decca record, “Rock Me.” Throughout the late 30s and 40s she tours Carnegie Hall, the Apollo Theater, Cafe Society in New York and the Grand Ole Opry. She befriends and performs with Cab Calloway, Count Basie, Dizzy Gillespie and the like!

1942 Records Victory(V)-discs and performs for African-American troops during WWII.

1943 Divorces Tharpe. Marries Foch P. Allen.

The Middle Years

1944 Releases “Strange Things Happening Every Day” with Decca, reaching #2 on the “race records” chart.

Rajané Katurah Brown as Marie Knight, Jamecia Bennett* as Sister Rosetta.

1946 After a concert at Harlem’s Golden Gate Ballroom, where gospel singer Mahalia Jackson invited up-and-comer Marie Knight on stage, Tharpe convinces Knight to join her act.

1947-1951 Divorces Allen. Tharpe and Knight tour and record several hits. During this period of touring, Knight’s two children die in a house fire. In 1951, the duet part ways.

1951 In a publicity stunt, Tharpe stages a wedding at Griffith Stadium in Washington D.C. to Russell Morrison. Knight is her maid of honor, and the Rosettes, a group of back-up singers formed by Rosetta in 1949, serve as bridesmaids. Over 20,000 paying fans are in attendance. After her vows, she plays a concert on electric guitar in her wedding dress. Decca live records the ceremony and concert, then releases it as an album.

The Later Years

1957 Tharpe and Morrison travel Great Britain and Europe at the height of the British blues revival.

1964 She books the Folk, Blues and Gospel Caravan tour in England, and performs in an abandoned railroad station for a live audience and nationwide TV broadcast. LINK.

1968 Katie Bell dies in Philadelphia. Tharpe receives her only Grammy nomination for the 1968 LP Precious Memories.

1973 Tharpe dies on October 9 in Philadelphia, following a stroke, where she is laid to rest in an unmarked grave. Knight performs at her funeral.

A Rebirth of Interest

2007 Writer Gayle Wald’s biography, SHOUT SISTER SHOUT, The Untold Story of Rock-and-Roll Trail Blazer, Sister Rosetta Tharpe, kicks off a renewed period of interest in Tharpe’s life and music.

2011 A historical marker is added to Tharpe’s Philadelphia house. Filmmaker Mick Csaky produces the documentary The Godmother of Rock & Roll.

2018 Tharpe is inducted into the Rock & Roll Hall of Fame under its “Early Influence” award.

 

Morgan Holmes is an all-around theatermaker – writing, directing, dramaturging and administrating across the Twin Cities. She is most interested in identity, ritual, intimacy, and internet culture, which she explores as co-creator of Perspectives Theater Company.

Introducing the Godmother of Rock ‘n’ Roll

Introducing the Godmother of Rock 'n' Roll

INTRODUCING THE GODMOTHER OF ROCK ‘N’ ROLL

Local premiere stars Jamecia Bennett and Rajané Katurah Brown

Park Square Theatre announces the area premiere production of Marie & Rosetta by George Brandt, to be directed by Wendy Knox, who directed the early workshops of the play at the Minneapolis-based Playwrights’ Center. Soulful and spirited, this play with music tells the story of Sister Rosetta Tharpe, a 2018 inductee into the Rock ‘n’ Roll Hall of Fame who has become a Facebook sensation with tens of thousands of shares of the vintage video of her playing electric guitar on the street cropping up in feeds for the past several years. Tharpe brought fierce guitar playing and swing to gospel music and went on to influence rock musicians from Elvis to Jimi Hendrix and Ray Charles.

The story begins in a funeral parlor in Mississippi, as Rosetta (played by Jamecia Bennett*) and her young protégé, Marie Knight (played by Rajané Katurah Brown), prepare for a tour that will establish them as a great musical duo. Local musical powerhouses, Bennett and Brown earned rave reviews in THE WIZ at Children’s Theatre Company. In this production, musical director Gary D. Hines from The Sounds of Blackness will help them shape memorable renditions of spirituals like “Were You There When They Crucified My Lord?” and “Sit Down,” to distinctly non-religious songs like “I Want a Tall Skinny Papa.”

“Rosetta was a powerhouse musician who had a huge influence on Elvis Presley, Chuck Berry, and Etta James, among others,” says director Wendy Knox. “She came to fame as a gospel singer, was a rival of Mahalia Jackson, then crossed over to secular music and was shunned by the church community. She was married several times and maintained a longtime relationship with her musical partner Marie Knight. Under-recognized for her talents (gee, that problem hasn’t gone away, has it?), she had an enormous influence on rock and roll. What a treat to return to this great story in the very year when she finally got her due from the Rock ‘n’ Roll Hall of Fame!”

The production team for Marie & Rosetta includes Joseph Stanley (Scenic Design); Aaron Chvatal (Costume Design); Robert Dunn (Wig Design); Abbee Warmboe (Properties Design); Michael P. Kittel (Lighting Design); Peter Morrow (Sound Design); Morgan Holmes (Dramaturg); Jared Zeigler* (Stage Manager).

Ticket prices: Previews: $20-$37. Regular Run: $25-$60. Discounts are available for seniors, military personnel, those under age 30, and groups. Tickets are on sale at the Park Square ticket office, 20 W. Seventh Place, or by phone: 651.291.7005, (12 noon to 5 p.m. Tuesday through Friday), or online at parksquaretheatre.org.   #PSTMarie&Rosetta

*Member, Actors Equity Association

CALENDAR INFORMATION

Marie & Rosetta

Park Square’s Proscenium Stage

Previews: November 23 – 29, 2018

Opening Night: November 30

Regular Run: November 30  – December 30, 2018

Tickets: Previews: $20-$37; Regular Run: $25-$60

PARK SQUARE THEATRE, 20 W. Seventh Place, Saint Paul

Ticket Office: 651-291-7005 or parksquaretheatre.org

Phtos by Petronella J. Ytsma HERE.

Green 7:30 pm; Orange 2:00pm

P – Preview; B – 99¢ Bargain Preview; D – Post-show Discussion; O – Opening Night; ASL – American Sign Language; AD – Audio Description; C – Open Captioning