Beat Box: A Raparetta (A Hip Hop Opera with a Message)

HOUSTON, TX -- I’ve only been to the Bay Area once back in the early 2000’s, but recently I was transported back there to the Fall of 1988, to an alley in perhaps San Francisco’s East Bay or Oakland, all from the comfort of The Ensemble Theatre, in Midtown, Houston. It’s set during the Golden Age of Hip Hop (late 80’s - early 90s), and playwrights Dan Wolf and Tommy Shepherd, who were students at Southern California’s Pacific Conservatory of the Performing Arts (PCPA) Theatre at the time; when an instructor planted the mustard seed of a rap opera in their heads.

‘Beat Box: A Raparreta,’ centers around step-brothers, Tet (Elia Adams) and his older brother, Finch (Winton Savice, Jr.); as well as Malloy (Juan Sebastian Cruz), Tet’s good and somewhat purpose driven friend. All are trying to live to the best of their ability, but as with life in the big city, drugs and weapons play their part, and it boils down to choices that individuals make that fulfills their destinies. Finch deals narcotics to feed his family, but he tries to shield Tet from that life, so he can be that better person to make it in life. They bond, but will it hold?

Malloy seems to want to take school seriously, but he has his faults too. His stable upbringing shields him from staying out late and partaking in narcotics. Zac (Reyna Janelle) appears to be on the road to success out of the alley after leaving and returning with new threads dressed to impress. You’d think that would motivate everyone to make better choices, but for one, the need for instant gratification overrules the drive for a good work ethic to get ahead in life. Bad choices lead to worse choices. A senior citizen is slashed and Finch takes the rap. And unfortunately things further spiral out of control. Blood is spilled. A life is lost.

Beat Box: A Raparetta, is filled with stirring scenes of dialogue, incredible rap music and break dancing that will have you sitting on the edge of your seat. You’ll see an homage to Wolf and Shepherd’s lyrics instructor, played by Patrice Anderson in several scenes, and the actors even make the game of dominoes look fun. I was thoroughly impressed with the dancing of Elias Adams, Winton Savice, Reyna Janelle, and Juan Cruz. I appreciated the fun ‘bd’ duel between Zac/Finch and Tet/Malloy. They were good times.

It was a busy stage, and made me wish I had more eyes to take it all into perspective. I relished the energy that the actors gave off. The ensemble cast were excellent with all the extra parts they played. Cardero Berryman and Lauryn Neally were wonderful in their roles, playing the prim and proper parents of Malloy. And they along with Kendall Burns, and Patrice Anderson, all really set the stage alight in their multiple parts.

Director Rachel Hemphill Dickson, found a gem that starts a new era for The Ensemble. It’s a bold choice. And it represents the first interpretation of Wolf and Shepherd’s work outside their purview. She and AD Joseph Palador demand a lot of their actors. They called for the best, and they responded. Dickson is a wonderful teacher, and unlike the playwrights, she took inspiration from a student in her introduction to the genre of hip hop theater.

I bow to choreographer Aisha Ussery, and her ability to teach complex moves to actors whose strong suit may not have been dance. I appreciated the height and risk of dancing at heightened levels, and at all elevations for that matter. Ussery made sure all the actors hit their marks. I saw no one confused or misstepping to this or that part of the stage. The set, I can say, is the most unique I’ve ever encountered. Joyce Milford and her crew should take a bow. I’ve never seen an all metal set like that before, and it held its shape with not one wobble. Her interpretations of the jail cell, the top of a roof, and kitchen, really sold the audience, and coupled with a little imagination, the actors were really there.

I loved how the lighting set the mood for a scene, designer Jim Elliott did a stand up job in that arena. Teacake Ferguson, the costume designer, brought the characters back to 1980s life, with her beautiful creations; and last but not least, the DJ and Sound Designer, Adrian Washington, did an excellent job with his choices of music and bringing the sound of the era back to life.

Beatbox: A Raparetta, for me is a breath of fresh air. It represents a story of life choices and differing story lines. The battle between evil temptations, and their weight which we set upon ourselves, versus taking the righteous path, and being consistent in life aims. I was impressed, and recommend it wholeheartedly, especially for those whose path is not on the straight and narrow. And just like the cast asks at the end, “Which story line do you belong too?”

The show runs through April 14th. For tickets:
ensemblehouston.com/2023-24-season/beatbox-a-raparetta

Ruben can be reached at: ruben@montgomerycountynews.net

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