‘Carter’s Way’ Jazzes The Senses

There is much to like about Steppenwolf Theatre Company's production of Carter's Way, a gritty drama which takes place in Kansas City during the Great Depression. For those who think of jazz as only a product of Chicago or New Orleans, it was also Kansas City during the 1930's when many of the most famous of the legendary jazz performers emerged.

The story focuses on Oriole Carter, (James Vincent Meredith) a genius on the saxophone but emotionally damaged. The only person who doesn't want Carter to be a star, is Carter himself. Carter and his quartet play exclusively (within city limits) at his friend Pewee Abernathy's (K. Todd Freeman) club, Planet Mars which is controlled by the mob where a weekly "stipend" is paid to keep the doors open and knees from being shattered. Trouble stirs when Carter falls for the mobster's white girlfriend, Eunice Faye (Anne Adams) and everyone who is in Carter's circle is effected by the choices he does and doesn't make, with and ending you can anticipate coming from the onset of the show.

Carter's Way is perfectly cast by writer/director Eric Simonson. Meredith, who was unforgettable with his work in Steppenwolf's production of The Crucible is on equal footing here, with a much more subdued performance. Mr. Freeman has perfect comic timing and warmth with his portrayal of Pewee, who is caught between trying to be a friend to Carter and keeping his business afloat. Ora Jones, who plays Marilyn Stokes, Carter's former lover, has a lovely Phylicia Rashad quality to her persona and was my favorite performance in the production. Ms. Adams has some very strong moments in the production but never quite makes the emotional connection to Meredith's character interpretation of Carter that would make the audience really believe her suffering. This is a more a byproduct of the script then of the performance.

The first act of Carter's Way is both gripping and heartwarming. The aura of a smoke filled jazz club with whiskey flowing and great music abounding is palpable. It is in the second act where the work tends to lose his way as Simonson's words become overwritten and a bit preachy. The play was originally produced in the Kansas City Repertory Theatre in 2005 where it enjoyed a successful run. According to the production press notes, it was substantially rewritten for the Steppenwolf stage. A few more tweaks with the script are still needed.

What doesn't need any changing is the phenomenal original music composed by Grammy winner Darrell Leonard which showcases the soul of the story which is Carter's music and his creative genius. Leonard's compositions run the gamut of soulful ballads, bluesy scats and wonderful saxophones solos and riffs.

Carter's Way is well worth seeing and is a great homage to the incredible contribution that Kansas City made to the jazz world.

Carter's Way plays through April 27, 2008 at the Steppenwolf Ensemble Theatre, 1650 N. Halsted, Chicago, Illinois. For tickets and show times, visit www.steppenwolf.org