MUSE/IQUE’S LIKE IT LIKE HARLEM

There’s nothing like live music! Especially when it’s as good as it is in Muse/Ique’s Like It Like Harlem, which my musical friend Nina Herzog and I saw at the Mark Taper Forum this weekend.

It was a really different kind of production for the Taper. But I believe that that’s what they’ve been doing for the last couple of years—mixing it up quite a bit with special presentations, the variety of which I always enjoy.

To be honest, I had no idea what this show would be. But because I knew it was made-up of music that I like, and Nina is a singer who loves all kinds of music, I thought it would be a pleasant evening, which we all sorely need right now. I had read that it was featuring Latin music, so, in these insane times, especially in Los Angeles, I wanted to go support. And one song in, Nina whispered, “I love it already!”

So, lest you are also unaware of this company and what they do, let me explain them a tad. From what I now understand, Muse/Ique presents orchestral and band music in different genres in shows where their Artistic and Music Director, Rachael Worby, explains what we’re about to hear before each selection. She gives the history/background of the music in a way that I feel I once heard Leonard Bernstein do it someplace when I was a little girl. It felt sort-of like an excellent college seminar, that everyone wants to take, with the perk of a superior band! (“Seminar” is not a putdown, by the way—most of my family is educators. Including yours truly, back in the day!) Where else can you hear live music with lessons?! And let me tell you—everyone in the packed house was into it!

This particular offering’s subtitle was Salsa, Boogaloo, and the Making of a New Musical Playground in New York City, so you know it was all upbeat and fun. To aid Rachel’s explanations, there was a giant screen which displayed photos, artwork, and videos with each song. Nina and I really enjoyed all of them. As much as I’m into music, I love a good visual even more!

Like It Like Harlem opened big with Tito Puente’s iconic Oye Como Va, which got everyone’s attention from the get-go.

Conductor Worby told tales of the influence on music by several other Latin artists, as well, including José Feliciano, Celia Cruz, Carlos Santana, and Pérez Prado. I had just seen a television documentary about how Ed Sullivan helped black artists way back when by featuring them on his television program, and bits of Like It Like Harlem demonstrated that Ed also helped Latin performers, such as Pérez Prado. (Muse/Ique’s band played his Mambo No. 5 that night, although I would have rather heard his more known, but slower, Patricia. Every time I hear that song on oldies stations, Mr. X quizzes me on who wrote it, like I’m ever going to not know the answer is Pérez Prado! I’m glad the show inspired me to research Pérez because I discovered that Patricia actually had lyrics! And they were written by my old buddy, Bob Marcucci! Live and learn. I’ve only heard that tune as the famous instrumental it is.)

I was shocked that Latin music brought up so many personal memories for me! I’ve been to all the areas of New York about which Rachel spoke, (most of them many times, with one visit to Harlem and Spanish Harlem in recent years,) and never knew all these Latin references! But now I’ll make a point to notice them. My precious Brooklyn Bridge even got a mention from her.

They did a section on Desi Arnaz, (for which they played his famous Babalu, which I’ve never ever heard anywhere but on I Love Lucy! That was a fun surprise.) Seeing Desi on the screen was another thing that hit home for me because I had once played Lucy on a sitcom, to master impressionist Danny Gans’ Desi. Danny was so good, in fact, that I always feel a bit like I actually knew Desi!

They showed a fascinating video clip of him talking. Desi was emotional when he thanked America. (So was I.) He said, “I don’t think there’s another country in the world who would give you that opportunity. Thank you, America!” Let’s all hope that we can get back to that inclusive situation very soon. (As to that sentiment, Nina said, “During a time when racism against Latino culture is on the rise, this show felt deeply moving and profoundly important. The rhythms and beauty were electrifying, and the presentation of these major hits made it clear that America’s rich musical landscape owes so much to this diverse heritage. One fascinating thing I learned was that one of the first shows to challenge segregation laws and bring together audiences of every creed and race was a Latin production—and it’s no surprise. This music is pure celebration, with complex rhythms that catch every ear and invite every heart to join in.” To that, I add only: what she said.)

I was so interested in the presentation as a whole that I didn’t even notice that I was already a fan of a few of the performers! There were a quintet of singers, with two main ones. The guy was Brooklyn native Rogelio Douglas, Jr., whom I’ve reviewed in three other shows over the years, and in each one, I said that he was the best voice in the cast! And that was before I knew he was my fellow Brooklynite!!!

The female, Yvette González-Nacer, was also a former multiple review-ee of mine. I first saw her in a holiday “panto,” (a comedic take on The Wizard of Oz,) a few years ago. Mr. X was especially impressed with her, saying that “she gives the audience confidence.” I wrote, “That is one talented woman. She even accompanies herself on violin at one point!,” which she also did in this Muse/Ique presentation. I didn’t even realize that Yvette was the same actress/singer I had seen several times before until she started playing the violin!

And then, as soon as I wrote that they needed* dancers, out they came! Yay! And, I can’t believe it myself, but I’ve also reviewed both dancers before! The duo of Katie Garcia and Joan Rodriguez, (he also choreographed their numbers here,) had performed in a wonderful BodyTraffic project I saw at the Wallis three years ago, and, of course I loved them again, even though I was totally jealous of their exquisite, chiseled bodies now that I could see them up close.They were excellent, even though their numbers were more contemporary than Latin. As beautiful as their moves were, I wish that they had done more traditional Latin dances because I never get to see those. *[I’m more visual than aural, so, when music is playing, I’ve always needed dancers to watch. For example, when I used to go to Lincoln Center with my mother for a series of symphony concerts when I was a teenager, I had to leave the auditorium and go into the lobby while they were playing, and watch myself dancing in the big mirrors!]

As Like It Like Harlem went on, I kept thinking of how my parents would have loved this show. My brother is a Broadway musician, so I imagine that he would have been a fan, as well. Here at the Taper, I was happy to be a part of such an appreciative audience.

And they were an interesting audience, as well. Everyone was very appropriately dressed, (which, sadly, rarely happens anymore,) and well-behaved, (I never noticed even one person looking at their phone!,) and really into all of it! And Nina and I, who together know half the town, especially when we go to theatre events, didn’t recognize anybody else there, (outside of the cast and musicians, of course,) which was sort-of refreshing.

They closed the evening with the iconic I Like it Like That, which was perfect because the audience was more than ready to jump up and dance by then.

And you’ll have your own chance to do just that if you attend other shows of theirs, which happen all over town all year. Check-out Muse/Ique’s upcoming schedule right here: www.muse-ique.com

And for all the events at the Taper and their fellow Center Theatre Group’s theatres, click here: www.centertheatregroup.org