By Carole Di Tosti . . .
Playwright Suzan-Lori Parks wrote the book and three songs for the ebullient, heartbreaking musical The Harder They Come, which is currently running (with one intermission) at The Public Theater. The musical is Parks’ contemporary retelling of the titular 1972 film, which was produced and directed by Perry Henzell and co-written with Trevor Rhone. The film, which starred iconic reggae artist Jimmy Cliff and featured some of his songs, is credited with putting reggae music on the global map.
On the 50th anniversary of the film, Parks’ pop star concept of The Harder They Come expands the story of Ivan (the terrific Natey Jones), a Jamaican “country boy,” whose ambition is kindled, when he visits his mother (a fine Jeannette Bayardelle) in Kingston to bring her the news of his grandmother’s death. Instead of returning home, he pursues his dream to become a recording artist.
However, socio-political influences (corruption, institutional racism) force him to change direction. Impatient, impoverished and determined to be a “hero who never dies,” Ivan pursues success by “any means necessary,” and allows himself to be pushed into a life of crime, with fatal consequences.
Masterfully directed by Tony Taccone, with superb staging by co-director Sergio Trujillo, the musical opens with “Kingston Town (007 Shanty Town),” sung by the ensemble against the glorious, varied, colorful hues of the set (beautifully designed by Clint Ramos and Diggle), with color-coordinated costumes by Emilio Sosa, and sassy projections by Hana S. Kim. The city’s spectacle contributes to Ivan’s feelings of exuberance. It’s a wonderland of happiness, suggested by Edgar Godineaux’s choreography and Kenny Seymour’s music supervision, orchestrations, and arrangements.
Taccone and the creative team’s vision encapsulates the joyful allurement of a culture that values pageantry, excitement, and reggae music. It is this celebratory environment that lures Ivan to stay and believe: “You Can Get It If You Really Want.”
Initially, Ivan refuses offers by Jose (the slippery Dominique Johnson) to sell marijuana. He ends up trading work for food and shelter at a church run by Preacher (the inimical and anointed J. Bernard Calloway). Calloway’s Preacher rocks the gospel to audience cheers in “Let’s Come in the House.”
Ivan allows himself to be influenced by Pedro (the excellent Jacob Ming-Trent), who works for Jose. Pedro and Ivan see a film that imprints Ivan with the concept of immortal heroes. This is a theme that Parks weaves throughout the musical. Filled with the thought his music could make him a legendary star, Ivan tries to work his dream and finds it’s a “Hard Road to Travel.” This is especially so after dealing with exploitative record producer Hilton (the humorous Ken Robinson).
As he works for Preacher, Ivan learns about the church. In another number which is sardonic and hints at the repressed young choir members, who secretly yearn to “dirty dance” at clubs, Elsa (the golden-voiced Meecha) and the ensemble sweetly sing “Just a Closer Walk with Thee.” Surprisingly, they peel off their yellow robes to reveal short skirts and club outfits underneath, as they sing and dance suggestively. Japhy Weideman’s hot, club lighting switch conveys sexuality. The switch back to bright, white lighting conveys repression and adds to the humor and irony of the scene when the ensemble dons their yellow robes again, and sweetly finishes the hymn.
With this song, one of Parks’ themes is affirmed. The hypocritical outer forms of religion don’t penetrate the inner hearts of parishioners. Instead, religion is used to suppress healthy sexuality and human decency.
Ivan’s problems augment when Preacher evicts him, jealous that Elsa has fallen for Ivan. Eventually, Ivan and Elsa marry, and Ivan does cut a record for little money.
However, Ivan pumps himself up with the will to go for his dream (“The Harder They Come”). At the end of Act I, singing “Aim and Ambition,” he convinces himself his dream is attainable. In Act II things are looking up. He goes into “business” with Jose (“I Can See Clearly Now”). However, he discovers the network of police corruption which undergirds the ganja trade.
Parks lifts the tone of the film to make the musical more joyful and empowering. She thematically explores the post-colonial influences on Ivan that convert him from a dreamer to a folk hero who commits crimes that the people identify with and forgive. Jones’ Ivan learns he must carve out his own destiny and immortality in a culture of corruption, where the system, on many levels, is rigged against him. Though he dies, his song lives on. Ironically, he’s fulfilled his dream.
Parks’ clever song bridges move the scenes forward and deepen the characterizations. In selecting and applying songs from Cliff’s catalog, this magical, must-see musical is an entertaining tribute to Jimmy Cliff.
Kudos to Walter Trarbach’s sound design, John Bronston’s music direction and Earon Chew Nealey’s hair, wig and makeup design.
The Harder They Come. Through April 9 at The Public Theater (425 Lafayette, at Astor Place) www.publictheater.org
Photos: Joan Marcus
Cover Photo: Natey Jones
