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Dinah Washington Redux, This Time with a Christmas Theme

 

Delana Flowers as Dinah Washington Credit: Pittsburgh Playwrights Theatre Company

          Mark Clayton Southers knew it. And so did everyone else who saw his production of Dinah, A Musical Review in April of 2024. He was on to something good. Brining back Dinah with a holiday vibe this December is a no brainer.

          As artistic director of Pittsburgh Playwrights Theatre Company, Southers repeated history when he called on playwright/musician/visual artist, Ernest McCarty, Jr. to provide, again, the story line for his newest production, again staring Delana Flowers as “The Queen of the Blues,” as Washington liked to call herself.

          The show gave me my first look at the theater’s recently opened cabaret space, a cozy, intimate venue, with a high stage, a small walk-up bar and tables and chairs topped by soft flickering candles. Think romance and an image from a 1940s Hollywood movie.

          The narrative backdrop takes place in a Pittsburgh Hill District jazz club, a.k.a. Jimmy Hyde’s Sugar Top Lounge. The owner (James Howard) seems to have run into some financial difficulty and, to bail him out, his long-time friend, Dinah Washington, agrees to star in his annual Christmas show.

Just off a national tour that ended in New York City’s Birdland, Washington’s brought along her band of four noteworthy musicians that are actually among Pittsburgh’s finest. They include Tony Campbell on sax, Dwayne Dolphin on bass, Dwayne Fulton on keyboard and Jason Washington, Jr. on drums.

          Dinah also brings along her chief moral support and close friend, LaRue (Krystal Waller), who later in Act Two joins her in a song along with back up, energetic vocalists Rachel (Destiny Nwafor) and Lu (Marissa Lily), The sweet harmonies from these four gals had me wishing playwright Ernest McCarty would have included another tune or two in the script that featured all four singing.

Dinah wasn’t yet done trying to help Jimmy out of his financial woes. She also asks fellow crooner Brook Benton (Les Howard) to lend a hand with his unmistakably velvety tones, first joining her in a couple of duets “Walking in a Winter Wonderland” and “Baby It’s Cold Outside,” then soloing with “Chestnut Roasting on an Open Fire.”

As may be expected, the evening was heavy on Christmas melodies, but McCarty managed to add several of Dinah’s hits as well, including her best selling “What a Difference a Day Makes.”  Most impressive to me, one that choked me up with emotion was McCarty's own “Someday,” that came at the end of the show.

Of course, the focus of the evening was Flowers, who now, after singing Washington’s songs in two other productions that I’m aware of, seems as comfortable in the role as well-fitted glove. And speaking of gloves she gets a stunning second act ensemble of long white gloves along with a sparkly white dress, a white boa, a glittering tiara, even a long white fur coat all put together by costume designer, Willa “Katy” Cotton.

          Tall and lithe, Flowers holds your attention with a magnetic stage presence. Her melodies flow seemingly effortlessly, stunningly emanating from the heart. She also displays her acting skills when she transforms her act one somewhat petulant diva mode into a more affable and personable presence in act two.

          Co-directors Mark Clayton Southers and Ashley Renee Southers even inject a bit of technology into the script when Dinah’s husband, Dick “Night Train” Lane, (Sam Lothard) phones her and he’s shown screened on a video monitor mounted against one wall of the cabaret.

          The entire show goes down as warmly and sweetly as a cup of mulled wine on a blustery winter’s day. Now if they only had served it at the bar.

          “Dinah Washington Christmas” is at the Madison Arts and Entertainment Center, 3401 Milwaukee Street in Pittsburgh’s Schenley Heights neighborhood through December 22. For tickets and more information, go to https://www.pghplaywrights.org.

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