Queued on the doorsteps of beacon Manhattan Theatre Club’s, crowds bartered the chilly November weather for Ruben Santiago-Hudson’s Lackawanna Blues. Like fire to a cold camper, Santiago-Hudson charmed hearts of Samuel J Friedman Theatre patrons with a bona fide delivery and ode to the woman who raised him. His solo autobiographical play—written by, directed by, and starring himself—revisits his boyhood living with Miss Rachel, whom he called “Nanny.” He first created Lackawanna Blues in 2001 before its Fall 2021 debut on Broadway.
Santiago-Hudson characterizes Nanny through the people she touched in her Lackawanna, New York neighborhood. At her boarding house, everyone is welcome. No mouth is unfed. No hand is turned away.
Overhead lights and table lamps scattered warm tones among the stage floorboards. Cavities of darkness set the mood to the 1950s to 1960s in Erie County, New York. Stage right, Junior Mack interrupted the brick backdrop on stool. The strums of blues guitarist clenched the auditorium’s acoustics. Santiago-Hudson pulled out a harmonica for the wind assist. He tapped his foot to the beat. To his back stands a front door with an entry light that ceases to expire.
Nanny opens her doors. Sweet and timid, a youthful Ruben welcomes each figure with curiosity and inspection. Nanny counters with a stern yet hospitable nature. Despite the age gap, Hudson-Santiago regulated his diction to portray both. Greater adaptability arose as the actor introduced new characters all played by himself. It was a game of Russian roulette. Audiences knew not who next Hudson-Santiago would summon from his rotation. Nanny’s home embraces over 20 personalities including a military veteran, former baseball player from the Negro League, and domestic violence survivor. Some are neighbors. Others reside in the boarding house with Ruben, Nanny, and Nanny’s husband Bill, whose relationship with Ruben differs much from Nanny’s relationship with the boy.
Santiago-Hudson drove a 90-minute montage with his writing. Sensory details appealed to viewers’ taste, smell, sight, touch, and hearing. Recitations of Nanny’s cooking and grocery lists especially seduced the tongue. Santiago-Hudson also enchanted with a script full of nostalgia and comic relief. He brought rows of spectators to their feet in a lengthy standing ovation. Afterward, theatre-goers exited with an impression of a good time all-around.
Photo Credit: Marc J. Franklin
