By Deidra O’Brien.
Dim all the lights, sweet darling, ‘cause the Summer: The Donna Summer Musical has cast all the disco glitter onto the Gateway Playhouse stage. Based on the book by Coleman Domingo, Robert Cary, and Des McAnuff, this musical disrobes the glitz from the Donna Summer we know and shares less known layers of her life and humanity. Jenny Laroche, director, channels her Broadway credits into the fabric of this show, resulting in an enthralling production and opening weekend.
The musical tells the tale of a vivacious, gospel-singing little girl from Boston who overcomes obstacles to achieve her rank as the veritable Queen of Disco. As the universality of any good story demands, Donna’s success is only met after conflicts within and outside of herself, from her relationship with God, to taking the reins of her career and life. Grace Capeless, playing Duckling Donna (Donna Summer as a child) steals the first Act. Her vocals were impressive, demonstrating range, control, and gorgeous tone and runs in “On My Honor.” However, Capeless’ delivery of “Pandora’s Box” was simply heart-shattering. The emotionality of her facial and vocal expressions in conjunction with the lyrics and plot left the audience holding its breath.
After a strong takeoff in the first Act, the second soared to maximum altitude. Many of Summer’s quintessential disco hits are in the second Act, which left the audience whooping and clapping in anticipation after only the first few identifiable notes of their favorite songs, like “On the Radio,” “Bad Girls,” and “She Works Hard for the Money.” Here, Afra Hines, as Disco Donna, thrived and electrified the theatre. She bent her voice to replicate the well-known clarity of Donna Summer’s, and as she held the long notes it was clear she wasn’t letting go until she was good and ready. “She Works Hard for the Money” was one of the most memorable numbers, with Hines revealing her roots as a dancer with perfect leg extensions and dizzying turns, all while serving serious face as she fought her music executive. The costumes, staging, and overall choreography—well-executed by the ensemble with energy—contributed to this being a standout number among many fabulous numbers. Though, the music cannot be left out of the discussion, and Renee Marie Titus as Diva Donna was the pilot here, belting out the song with a vengeance. From opening to finale, Diva Donna was someone I wanted to befriend. She narrated the show with warm grace in vocal delivery and mannerisms in that way only a queen can, having conquered the world. Although a true diva has nothing left to prove, Titus left her soul on the stage performing “Friends Unknown,” baring the kind of spirit and emotion that can only leave an audience in awe.
A musical is typically only as strong as its music, so Summer’s proven hits give this show a headstart. The orchestra propelled it and had the audience restraining itself from dancing in the seats. The duos, trios, and larger group numbers were gushingly harmonious. Capeless, Hines, and Titus blended beautifully, as did Carmine Mastrokostas (Bruce Sudano) and Hines in “Heaven Knows,” who were magnetic in music and body movement. In addition to the music, you can’t have a true disco without the perfect outfit and simmering lights. Costumes by Janine Loesch and lighting by Kim Hanson encouraged the audience to feel like we were on the dance floor throughout the show.
Empowering for a myriad of reasons, Summer showcases the talent of multiple black women: director, featured actresses, ensemble members, and more. To say that representation matters is overgeneralizing and understating such a significant need across many societal planes. In this, Summer was a greatly appreciated showcase of a more authentic Donna Summer, stripping back the hyper sexualization, glamour, and even the curated, shiny, fun, disco masks, to reveal a textured life—one that is vulnerable and honest. And though the raw beauty of this production is the shirking of the facade, there is plenty of fun and levity to be had, maybe more so knowing the pathway to get there was earned after jumping Summer’s hurdles with her. It makes the finale, seeing Duckling Donna, Disco Donna, and Diva Donna standing elevated at the forefront of the stage singing “Last Dance,” all the more euphoric.
Running Time: Approximately 1 hour and 45 minutes with one 10 minute intermission.
Advisory: Adult themes