‘Holler if Ya Hear me’ and ‘Romeo and Juliet’ in Harlem

There are such valuable lessons to imbibe in Todd Kreidler’s searing, brilliantly acted, danced and sung “Holler If Ya Hear Me”— that our audience’s cheering standing ovation at the finale of this long night’s journey into the tragic world of the last decade of the 20th century was an appreciation that hope for change is what continues to drive us all.
Change has proved harder than ever to come by in 2014, with senseless shootings in communities where the restlessness born of too few jobs for testosterone- driven youth have left too many of them choosing violence in their frustration. Rapper Tupac Shakur was shot dead in Las Vegas in 1996 at 25, already a legend for his rap music that made America’s youth aware of the wrenching disillusion of young black (and whites) who rarely got to share in the opportunities a decent job, schooling and less fragile home life might have fostered.
Turning to selling drugs — and frequently becoming dependent on them, angry at a tense world where there beloved moms succumbed to the latter — worn by too much work for too little pay. Shakur’s driving, explosive music fueled his contemporaries aggression — but also their hope for a better world where their lives could find fruitful meaning. Kreidler’s play, sensitively directed by Kenny Leon with a focus of telling it like it was back then — and sadly, for many, seems still mirrored in current urban America, is set in a nameless Midwestern town where two rival gangs must finally briefly clash in tragic violence before realizing their hope for a richer future via changing their own angry, combative lives.

Roadblocks on a path to understanding

In the musical, whose fabulous dance numbers capture the indomitable sassy spirit of “the hood’s” women, one gang leader, Vertus (a most memorable Christopher Jackson) decides selling drugs offers his best chance to escape his lot. When his buddy John (haunting Saul Williams) is released from prison, Vertus offers to cut him in — but the youth chooses to “go straight,” working in a car salvage company run by the musicals lone white character, Griffy, (fine Ben Thompson) where Vertus’ brother Benny works as well. John and Benny plan to head to California — start their own business and new lives —but when the latter is killed by a member of another gang the need for revenge drives the two warring factions to the brink of armed combat.
Is there a way to avoid further violence? Only a visit to the Palace Theater will provide the answer — leading to endless reflection as the daily TV breaking news records senseless tragedy upon tragedy for a young population still seeming caught in the revolving door of poverty, drugs and too much empty time in their frustrated lives. A passionate rendition of Shaker’s memorable “Me Against the World” by Saul Williams’ frustrated John, trying to stay straight while banging into the heart-breaking wall of disillusion — brought tears to this critic’s eyes.
The two lead female characters, Saycon Sengbloh as Corinne, Verus’ current moll and John’s former girlfriend, the inimitable Tonya Pinkins as Vertus’ devoted ex-addict mother, head a band of woman who plead with their offspring to turn from drugs and the violence festered by them. And while song and dance can’t feed hungry mouths we come to understand the love and respect many otherwise tough guys feel for their endlessly struggling mothers. And without divulging the conclusion of “Holler If Ya Hear Me” I can promise the conclusion of this haunting musical will be both moving and inspiring. With special kudos for John Earl Jenks as an itinerant street preacher who won’t give up the good fight.
The need for understanding ongoing tensions has never been greater, and the scepter of violence never loomed larger. A visit to this unique, potently moving musical will open your eyes to what foments tragedy, and the need to create a kinder world for today’s disadvantaged youths and for their strong, enduring mothers. The Palace Theater, 1564 Broadway at 47th St., (877) 250-2929 or hollerifyahearme.com for tickets.


‘Romeo and Juliet’ in Harlem
There’s “Shakespeare in the Park”— but for another most charged exploration of the Bard’s genius head up to Harlem’s Marcus Garvey Park to share in a bold new production of “Romeo and Juliet.” If the past season’s productions of that mournful classic, with its sorry fate for the doomed couple and their grieving families were less than spell-binding, in its second season the Classical Theatre of Harlem promises — as they put it — to “blow the dust off this classic!”
Directed by Justin Emeka, the company explores the timeless themes of love, identity, violence and masculinity through a unique lens. Look for the open air stage to rock with soulful song and movement as hip-hop beats and dance hall rhythms are the backdrop for a community sundered by what becomes violent internal conflict.
Perspective is a potent tonic in the world we live in today, and fresh insights are crucial to grasping how current events are sadly revealing that the more change rears it uncertain head the greater the potential for old wounds and prejudices to spring up like wildflowers. Understanding the world’s diversity is a fine beginning, as the CTOH will prove from July 5 to 27 while you rock in your seats! Admission is free with seating beginning at 7 p.m., 6:3 p.m. on Fridays at 124th St. and Fifth Avenue.
Visit www.cthnyc,org.