THEATRE REVIEW: Summer: the Donna Summer Musical presented by Riverside Center for the Arts
There’s a lot of magic happening onstage at Riverside Center for the Arts, and the "Donna Summer Musical" brings it.
By Dennis Wemm
THEATRE CRITIC
Tickets $67.00
Book: Colman Domingo, Robert Cary and Des McAnuff
Full song credits listed in TLDR below
Directed by Brittny Smith
Music Director Carson Eubank
Co-Choreographer Stephanie Wood
There’s a lot of magic happening onstage at Riverside Center for the Arts, and happily it’s theatre magic all the way.
When the play first appeared in 2018 with stellar Broadway triple-threats, it was treated enthusiastically by fans but with certain disdain (“Another juke box musical, *sigh*”) by the critical establishment. However, the performance at Riverside seems fresh, bright, well-conceived, and well-executed. As a confessed disco grump in the 70’s, I found it easy to gloss over Donna Summer’s career as it was happening, but after seeing the show opening night, I feel like I “get” her and have the right to just call her “Donna.” But enough about me. Being a critic is most fun when you don’t have to be a critic.
For those whose experience is not nearly fifty years old, Summer will not represent an exercise in Boomer nostalgia. The design, direction, and performances are fresh and clear. The effects chosen to present the action (sets, lighting, costumes and especially choreography) manage to be both energetically innovative and technically sound, employing all of the Riverside spaces to some of the best advantage I’ve seen in my four years of attending shows there.
It utilizes the full stage, the sets, costumes, and props support the show just enough to illustrate who, what, where, and when the action is happening. Then they become believable because of the way a talented group of actors/singers/dancers treat them. With never-flagging energy they play the highs and lows of a remarkable life. What could seem like another set of press releases tailored for People magazine becomes a life enacted in the present. The ever present backdrop of a massive wall of circles takes lighting changes well and maintains a period-true minimalist geometry, like a stage-sized vertical disco floor.
I did not mention lighting or sound in the above because while the above survive on a minimalist approach to staging, the two electronic elements provide a fully realized delivery system for the performances and presentation. They hold true to a singular concept while exercising the system’s versatility. There was less need for projected scenery, and the flow of the production was continuous. The audience space was included in the stage with go-go dancing platforms in the front section of seating, with invitations for the audience to use them if they were inspired to dance in the aisles (no one did at my performance).
Okay, so the performances and presentation: first, we’re presented with three different Donnas, played by three different actors. Duckling Donna (Tyandria Jaaber) is lacking in assurance and trust for her talent. She has a highly sheltered but uncomfortable upbringing and only manages to come out when she takes off on her own, like the hero of a fairy tale who must “seek her fortune in the world.” Jaaber captures well the vocal spirit that keeps busting out from behind the shy smile. She also doubles as Donna’s oldest daughter, Mimi.
Disco Donna (the aptly named Jahnay Star) has to carry the heaviest load of vocal and physical gymnastics, while keeping up with the gyrations of the chorus working their way through the seventies based dance moves. Her songs give the entire ensemble their marching orders and she leads by example. She gives the production crew their biggest workout as well and looks darned good doing it.
Diva Donna, older and wiser, has the bulk of the narrative. She’s the one who is in the “present tense” who provides insights into the life the others are experiencing in the seventies and after. Her songs are less playful than the other two, but when two or three strike into harmony, they provide the real heart of the show. She’s smart, savvy, contented and coherent. And full of a love that shines through the elegance of her outer appearance. Played by Tonisha Jones Harris, she owns the solo spotlight and reflects it with joy and occasionally heartbreak. Costuming for the two adult Donnas is well coordinated: Disco shows up as a flash of sparking energy that morphs into smooth, rich fabrics during the course of the show. By the time Donna grows into her business acumen, Disco has evolved into Diva. Harris also doubles as Donna’s mother, Mary.
The script and original concept call for this show to be woman-powered, but the seventies were not woman-dominated. The male characters are portrayed both positively and negatively with an unflinching honesty that accepts their limitations and strengths, but they are in the supporting cast for the three Donnas.
Her father, played by Benjamin Bryant, is a bit dour but a benign influence. His overprotection and trust of the church to be a sheltering experience for her made her escape and rebellion more complete. Bryant carries the role off well, calmly accepting his further role of caring for Donna’s daughter Mimi. An uncredited priest character (without a name) is a presence that gives Donna’s rebellion a motivation and sends her to audition for Hair, then to Munich and a destructive first marriage.
Bruce Sudano, a singer/guitarist in for a recording session (played by Jake Jervis) becomes an anchor for Donna’s storm-tossed life. In true musical fashion their lives become a duet that keeps them alive and somewhat above the emotional fray. Jervis is a welcome presence amid the chaos of competing egos that evokes the music scene in the seventies and eighties.
Almost all the other men are doubled in their roles. Costuming, and vocal work providing bare minimal cues into the character changes. It’s alright though, because they are present to provide obstacles, support, and motivation to the Donnas. Well, the show is not called “The Men in Donna Summer’s Life.”
Much of the original writing and collaborative conception for the show was provided by the same team who developed Jersey Boys (at Riverside in 2024). For Summer they re-visit the same production strategies; multi-voice first person narration that divides the subjects’ scenes in roughly chronological sequence. There’s a difference, though. For the Jersey Boys the conflicts are between the individual members of the group each defending their legacy from their own point of view. Where does the conflict come from here? From Donna’s personal and professional contacts, at first primarily with men.
If the script has a weakness, it’s a decided lack of exposition. If you’re a Donna fan, you’ll understand where and when each step of her life story happened, but the script simply lacks a clear explanation of when and where. It’s not very important until you realize how much of a roller coaster Disco Donna’s life was between 1968 and 1983-especially from 1973, and how much of the show in Diva Donna’s hands after 1983 is spent in relative spiritual and personal peace.
So should you see it? Sure thing. It’s a show that Riverside was made to do well, and they do it very well, indeed. A coherent, solid, and thoroughly entertaining performance and a great time for everyone.
Dennis Wemm is a retired professor of theatre and communication, having taught and led both departments at Glenville State College for 34 years. In his off time he was president and sometimes Executive Director of the West Virginia Theatre Conference, secretary and president of the Southeastern Theatre Conference, and generally enjoyed a life in theatre.
TLDR
Full Artistic and production credits
Production Stage Manager Donna Warfield
Properties Master Reilly Cooper
Sound Designer Cheyenne Tenda
Wig Designer Bethany Cheek
Lighting Designer Weston Corey
Scenic Designer Milo Bue
Costume Designer Caroline Tyson
Music Director Carson Eubank
Co-Choreographer Stephanie Wood
Co-Choreographer Brittny Smith
Assistant Director Stephanie Wood
Director Brittny Smith
Song credits
“The Queen Is Back” Evan “Kidd” Bogart, Jonathan Rotem, Donna Summer
“I Feel Love” Donna Summer, Giorgio Moroder, Pete Bellotte
“Love to Love You Baby” Donna Summer, Giorgio Moroder, Pete Bellotte
“Bad Girls” Donna Summer, Bruce Sudano, Joe “Bean” Esposito, Edward Hokenson
“Hot Stuff” Pete Bellotte, Harold Faltermeyer, Keith Forsey
“Last Dance” Paul Jabara
“MacArthur Park” Jimmy Webb
“On the Radio” Donna Summer, Giorgio Moroder
“She Works Hard for the Money” Donna Summer, Michael Omartian
“No More Tears (Enough Is Enough)” Paul Jabara, Bruce Roberts
“Dim All the Lights” Donna Summer
“Heaven Knows” Donna Summer, Giorgio Moroder, Pete Bellotte, Greg Mathieson
“I Remember Yesterday” Donna Summer, Giorgio Moroder, Pete Bellotte
“On My Honor” Donna Summer, Bruce Sudano, Harold Faltermeyer
“Pandora’s Box” Donna Summer, Giorgio Moroder, Pete Bellotte
“Friends Unknown” Donna Summer, Keith Diamond, Anthony Smith, Vanessa Smith “Unconditional Love” Donna Summer, Michael Omartian
“Stamp Your Feet” Donna Summer, Greg Kurstin, Danielle Briseboi
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