All about Alberta

Jazz and blues legend Alberta Hunter – who reigned from the 1920s-1950s – did what would be almost unthinkable nowadays, setting aside her life as an artist at the peak of her career to become a hospital nurse shortly after her mother died. But when she was forced to retire at age 70 (though she was actually 82), her musical career was reborn at New York’s The Cookery, where her bluesy style and salty repartee won over an entirely new audience until she passed away seven years later.

Thirty-five years since her passing, Ensemble Theatre Company (ETC) is mounting Cookin’ at the Cookery: The Music And Times Of Alberta Hunter as the closing show of its current season. Broadway veterans Lavon Fisher Wilson and Dayna Jarae Dantzler share the stage, with Wilson portraying Hunter in her later years as well as her own mother to the young Alberta played by Dantzler, who also takes on several smaller roles, including several males. Hunter’s catalogue is brought to life by an on-stage band led by pianist George Caldwell, who served in orchestra pits for such Broadway hits as Bring In ‘Da Noise, Bring In ‘Da Funk, and The Full Monty, plus logging long stints with both the Duke Ellington and Count Basie orchestras.

Marion J. Caffey, who conceived of and wrote Cookin’ at the Cookery more than 15 years ago and has directed more than 90 percent of the productions ever since, serves as director and choreographer for ETC’s staging, which runs June 7-24 at the New Vic theater. He talked about his still-evolving passion project a day after landing in Santa Barbara last weekend.

Q. What was it about Alberta Hunter’s story that inspired you to create the show?

A. I saw the PBS special on her back in the early 2000s, and I was stunned that I had never heard of this person with such a fascinating life. Today, she’s a little-known American jewel. She was a very big deal in the first part of her career, in the early 1900s. She was in one of the first casts of Showboat, (Hunter played Queenie opposite Paul Robeson in the first London production in 1928) and toured in big cities and played with Louis Armstrong. Then she quit and became a nurse for 20 years, bringing comfort and joy as a servant of the people in a different way. It was only after she was forced to retire that she came back with an even more successful career, which was completely by chance, when the guys who were starting the Cookery wondered allowed whether she could still sing, which is amazing. I wanted to share her and that story with the rest of the world. So, I dared to create a theatrical work based on her life.

How did you decide to take on such a vast story as a two-actress play? What creative choices did you have to make to do it justice?

I guess I didn’t know better than to tackle it at that part of my career, even though I didn’t know how to do it. I’m a director who writes rather than the other way around. I could see all of the things in my head. But I must admit I killed a lot of trees creating the piece. At first, it was too long and involved, and some of the scenes were fun but unnecessary. In its evolution, I think I’ve gotten it down to where it feels more comfortable. My goal was to entertain and enlighten, so at least they walk out knowing a lot more about Alberta Hunter. Each audience has to make the decision of whether it’s successful themselves, but we’ve had more than 40 productions, so something seems to be clicking.

How much research did you conduct into Hunter’s life beyond her music?

Well, I started with reading her biography, which was very informative. Then, as I began to write it, I literally followed her life as best I could. I went to Memphis and visited her old house, then walked down to the river where she first saw the WC Handy Band, and on Beale Street, where her mom worked as a chambermaid in a bordello. Then I rode the train from Memphis to Chicago, because that’s how she got out of there. I went to what was The Cookery, although it’s something else now, to connect with her journey. And I met with her lawyer and visited her gravesite. It was all to try spiritually connect to her as much as possible, and hope for her blessing to tell her story. It turns out that Danny Holgate, who was the first music director for the show, used to work the alternate nights at the Cookery when she wasn’t performing.

Is it set as a revue, or a biography, or something else?

To me, it’s a musical, featuring Alberta Hunter’s music and other songs from the era. We use much of the songs that she wrote, and it’s built around her comeback, which began at the Cookery, so we keep coming back to that first concert. That’s when she sings her music and the songs she made popular. But other times, we use music to advance the story. It’s quite unique. To me, there isn’t just one way to do a musical. So I call it a blues-ical, even though it has just the two actresses moving it along.

I would imagine in a show like this that casting is key. You’ve had a number of singer/actresses in the role. Why is Lavon right for the part?

She’d covered the show when she was young enough for the other role, but she never went on. But we’ve worked together on many other productions over the years. She’s a wonderful blues singer, and very gifted as an actress. She has the skill level and tools you need to pull of the part. I met Dana, who plays the other role, at the auditions. That role is equally difficult, because there are so many character that you have to be versatile. That’s very challenging. But Lavon never leaves the stage during the entire show. So, that’s a daunting task too. But they’re up to it.

I’m told you’re updating the musical for ETC. What’s different?

I always adjust it for the performers to fit what they bring to the show. And there are some changes in a few of the scenes that I just wanted to work on and adjust regardless of who was playing the parts. 

Also, times have changed. For example, a reviewer about 15 years ago criticized the show because there was a molestation scene. His take on it was that since she wasn’t actually raped, why is it just a big deal? I’d venture that no reviewer would say that today after the #MeToo movement. It’s a part of what made her what she is. So, the audience is much different than the way I wrote, and I’m always aware of that. It will be interesting to see how they react to those scenes today.

So, even after more than 15 years, it’s still a living and breathing work?

Oh, sure. I don’t change the core. It feels right. It’s just about tweaking, or updating and adjusting and making things stronger. You adapt it, but you don’ t mess with the bones. That skeleton has been standing for a good long time.

(ETC has also announced the lineup for its 40^th anniversary season, which features School for Lies by David Ives, The Legend of Georgia McBride by Matthew Lopez, Arthur Miller’s Death of a Salesman, Everything is Illuminated adapted by Simon Bloch from the novel by Jonathan Safran Foer, and Mark St. Germain’s Dancing Lessons. Discount early-bird subscriptions are available through Thursday, May 31. Call 965-5400 or visit www.etcsb.org.)