The Black Rep resurrects ‘Timbuktu!’ in this enchanting production (2024)

Musical: “Timbuktu!”

Company: The Black Rep

Venue: Edison Theatre, Washington University, 6445 Forsyth Blvd., St. Louis

Dates: May 23 to 26, May 30 to June 2, June 5 to 9

Story: The Mansa is prince of the Empire of Mali in western Africa in 1361, residing in the thriving metropolis of Timbuktu, a cultural and economic mecca. Bobo (a nickname given to the prince by his best friend, Munshi) is under pressure from the king to marry a princess to maintain the Malian royalty. Trouble is, Bobo isn’t impressed with the bevy of beauties brought to court for his consideration. Instead, masquerading as a gardener, he is instantly smitten by the sight of Marsinah, daughter of the region’s legendary poet.

When the poet is mistaken for a beggar, he is kidnapped and taken to the lair of an outlaw. Imprisoned there, the poet uses his wits to convince everyone, including the malevolent wazir of police, that he has the power to impose or remove curses such as the one that took the infant son of the M’Ballah of the River years ago.

Those curses are a big deal to the manipulative wazir, who is under pressure from another king to get the Mansa to marry one of three princesses sent to seduce him. While the wazir, who must pay off a big loan to the king, is fretting about his own situation, his lusty, philandering wife, Sahleem-La-Luum, sets her fancy on the handsome poet.

The "gardener" Bobo and Marsinah love each other, but when they mix up the correct time to meet at a nearby garden home, each thinks the other has abandoned them. The Mansa’s father pushes his son to marry a princess, all while Marsinah searches for her love, the “gardener," only to be frustrated by their lack of communication.

Will the Mansa, aka Bobo, be forced to marry a princess he must select but doesn’t love? Will Marsinah be able to rescue her father, the poet, from his predicament, especially if it’s discovered he can’t really levy or lift curses? Will the wazir continue his reign of terror? And will Sahleem-La-Luum figure out a way to get the man she wants – in more ways than one – away from her treacherous husband? Perhaps it’s all possible in Timbuktu.

Highlights:The Black Rep resurrects the seldom-performed musical “Timbuktu!” with this tuneful, light-hearted romp, which features a variety of musical styles and graceful choreography to enchant its audience.

Other Info:“Timbuktu” is based on the musical “Kismet,” the Tony Award-winner for Best Musical in 1953. It was set to music by Russian composer Alexander Borodin and adapted by composers Robert Wright and George Forrest, who added lyrics. The book by Charles Lederer and Luther Davis was based on a play by Edward Knoblock.

When “Timbuktu!” opened in 1978, Davis adapted his book from “Kismet” and its Arabian setting to Timbuktu in western Africa. The show was infused with African music and dances. It was directed, choreographed and costume designed by Geoffrey Holder, who staged a version showing a flourishing African society in the 14^th century. His rendition starred Eartha Kitt, Melba Moore and Gilbert Price.

When its Broadway run ended in September 1978 after six months of performances, the show embarked on a national tour, also starring Kitt. The Black Rep, under founder and producing director Ron Himes, staged a production in 1985 that starred Linda Kennedy, Benny Cannon and Drummond Crenshaw. According to Himes, The Black Rep’s new production is the first in the country since that 1985 effort.

Crenshaw is back in this latest version, this time playing the cowardly, nefarious wazir in high comic fashion. Himes directs this new rendition, which has an easy, graceful flow to it and focuses on Haley Rainey’s sprightly choreography.

It takes place on a majestic set designed by Dunsi Dai, resplendent in eye-popping, geometric shapes and color, with a background showing the African savannah and a quartet of towering structures that serve sundry purposes. It’s all handsomely lit in a rainbow of colors with Sean Savoie’s lighting design. Mikhail Lynn’s props design accentuates the look of the production, while Kristie Chiyere Osi’s costume design brings the 14^th century, African setting to visually sumptuous life.

In addition to Crenshaw, Himes’ cast includes Amarachi Kalu as the lascivious Saleem-La-Luum, Duane Martin Foster as the cunning poet, Evann De-Bose as the winsome Marsinah and Dereis Lambert as the kind-hearted, idealistic Mansa. Brian McKinley does well as Bobo’s pal, Munshi, and Kimmie Kidd nicely etches the role of Najua, who oversees the courtesans. Bradford Rolen is the chief policeman, and Keith Tyrone Williams fills the bill as the imposing M’Ballah of the River.

The ensemble for this effort includes Samantha Madison, Byron Jenkins, Venezia Manuel, Alan Phillips, Deante Bryant, Herman Louis Gordon Jr., Haley Rhiney, Gregory Carr II, Emara Neymour Jackson, Brea Johnson, Daija Jones and Tyja Lynxx.

Music director Colin Healy conducts a spirited set of musicians in the orchestra pit, which includes Healy on piano and bass, violinists Steve Frisbee, Kate Denson and Chuck Evans (who also plays viola), cellist Marie Brown, Brandon Thompson and Nicholas Alcorn on reeds, trombonist Adam Levin, and percussionist Caph P. Guel.

A special nod goes to drummer Bernard Long, whose expertise on the bongo drums, which are performed off stage left, is a noted show highlight throughout. You’ll hear familiar songs such as “Stranger in Paradise,” “Baubles, Bangles and Beads” and “Fate” sprinkled throughout the laid-back score and underlining the show’s upbeat fashion.

As Himes says in his program notes, presenting “Timbuktu!” and other such shows, “in which ancient African aesthetic and culture is centered, is of existential importance to The Black Rep and institutions like us all over the country. This is why we exist.”