by Michele Markarian
“Dreaming Zenzile” Devised by Somi Kakoma. Directed by Lileana Blain-Cruz. Produced by Arts Emerson, in partnership with Octopus Theatricals, The Repertory Theatre of St. Louis, New York Theatre Workshop, National Black Theatre, and McCarter Theatre Center, Emerson Paramount Theatre, 555 Washington Street, Boston through February 27.
“Zenzile – you have done it to yourself”. This is the name singer Miriam Makeba was given at birth, based on her mother’s difficult labor and recovery; the Xhosa word for a woman whose life moved forward on the wings of saying “yes” could not be more fitting. Based on the life of Zenzile Miriam Makeba, “Dreaming Zenzile” is a narrative concert that tells the incredible story of Miriam Makeba’s musical journey from South Africa to worldwide stage, both as musician and activist.
The piece opens with Makeba (the magnificent Somi Kakoma) coming out of retirement to perform her last concert in Italy, at a benefit to raise money for Robert Saviano, a writer in hiding whose book exposed, among other crimes in Italy, the killing of six African immigrants. While onstage, she is – to her dismay – visited by four ancestral spirits, the Sangoma Chorus, telling her the work is done, it’s time to come home. Throughout the two-and-a-half hour piece, the spirits lead Makeba back through the journey of her life by taking on various roles, i.e. her mother (Helen Marla White), father (Phumzile Sojola), daughter Bongi (Naledi Masilo) and fourth husband Stokely Carmichael (Aaron Marcellus).
It’s a clear and well-constructed passage into the interesting and remarkable life, marked with loss and love, of a shy, musical woman who became known throughout the world as Mama Africa. “You must follow the signs and say yes,” advises the chorus, unknowingly citing the first rule of improv to the young Makeba. “Yes” she does, eventually attracting the attention of such luminaries as Harry Belafonte, Nina Simone, Hugh Masekela (to whom she was briefly married), Nelson Mandela, Dizzy Gillespie, and her four husbands. Makeba is depicted as a forward moving, progressive thinking woman, guided by ancestors living and dead, and fate. The spiritual element of the script is palpable, to the spine-tingling harmonies of the opening number, “Mabhongo”, to the feeling that yes, someday we all go home, after reflecting on our earthly journey. Although a tad unwieldy, “Dreaming Zenzile” is a masterpiece in musicality.
The talent in the show is uniformly terrific. White, the understudy for an injured cast member, plays Makeba’s mother with steely strength. Masilo is a strong vocalist and beautiful dancer. Sojola is warm as Makeba’s father, and Marcellus lends sex appeal to Carmichael. All four voices complement each other, as well as Kakoma’s. The onstage band – Toru Dodo, Pathe Jassi, Herve Samb, and Sheldon Thwaites – are incredibly accomplished and unflappable. Mimi Plange’s costumes capture the culture and essence of the characters.
Kakoma is a force of nature. Her vocal range is astounding; the breadth and depth of her skillful instrument is almost otherworldly. As an actor, she is able to convincingly portray Makeba in all stages of her life, from child to septuagenarian. Her love – for her daughter, her mother, her husbands – and her rage towards objectification and death, are majestically and dramatically conveyed with depth and feeling. I have never seen Miriam Makeba perform, but I can say with awe that I’ve seen Somi Kakoma. I urge you all to do the same. For tickets and information, go to: https://artsemerson.org/
