In the hallowed realm of theater, where narratives become a canvas for profound exploration, "Black is the Color of My Voice" stands as a magnum opus, weaving together the tapestry of music, activism, and the indomitable spirit of a trailblazing artist. Inspired by the legendary Nina Simone, the one-woman show, written and performed by Apphia Campbell, transcends the boundaries of traditional biographical drama, transforming into a soul-stirring experience that resonates far beyond the footlights.
At the heart of this theatrical masterpiece is Campbell's transformative performance as the fictionalized Mena Bordeaux, a character intricately woven with threads of Nina Simone's essence. From the first note to the final poignant silence, Campbell's embodiment of Mena is nothing short of alchemical. Her voice, a mesmerizing instrument, navigates the complexities of Simone's repertoire with uncanny precision, capturing not just the melodies but the soulful nuances that defined the High Priestess of Soul herself.
The script, crafted with eloquence and emotional depth by Campbell, is a lyrical journey through Mena's life—a journey paralleling Simone's own struggles with racial injustice, artistic integrity, and the tumultuous landscapes of the civil rights movement. The narrative seamlessly interweaves Simone's iconic songs, like "Feeling Good" with Mena's personal narrative, creating a symbiotic relationship between music and storytelling that reverberates with thematic resonance.
"Black is the Color of My Voice" is not merely a biographical homage; it is a profound exploration of identity, activism, and the cost of artistic conviction. Mena's internal conflict, torn between the desire for commercial success and the imperative to use her platform for societal change, echoes the timeless struggles faced by artists navigating the intersection of art and social responsibility.
The staging is effective in its minimalism. A wooden bed and at its base, a suitcase full of Mena’s belongings, coupled with a table and chair, serve as a reminder that a simple stage allows for the artists talent to sit firmly in the spotlight. Given this, the simplicity of the set design truly makes way for the audience to be wholly immersed in the emotional terrain of the play, underscoring the power of the storytelling without distractions. The lighting design, evocative and nuanced, complements the emotional cadence of the narrative, guiding the audience through moments of triumph, despair and even the occasional laugh.
Campbell's direction demonstrates a keen understanding of the delicate balance between homage and originality. The pacing is exquisite, with moments of exuberant energy juxtaposed against contemplative introspection. The transitions between Mena's public performances and private struggles are seamless, again creating a narrative flow that engages the audience on both visceral and intellectual levels.
Black is the Color of My Voice is a testament o the enduring power of art to illuminate the human experience with beauty, resilience, and the unspoken language of jazz brilliance, the latter being something that never really sat comfortably with Simone herself. Campbell’s play ensures that her character, much like Simone, would be remembered for their excellence as classical pianists, rather than solely as Jazz artists.
This is the second time seeing Black is the Color of My Voice and that in itself is a testament to the enduring power of the production and the profound impact it leaves on its audience, none more so than me. With each viewing, new layers of depth and nuance emerge, allowing for a deeper understanding and appreciation of the themes explored within the play. Campbell is inherently captivating and there is an ease with not just her performance, but the space that she enables her audience to occupy. Campbell’s play is a timeless exploration of the intersectionality of identity and activism and one that must be seen by all.