Santiago-Hudson ambles, dances, and morphs sex and age. Bill Sims Jr.’s original music sounds as if it belonged to the original cannon. Everything tracks back to Nanny.Īctual music is provided both by onstage guitarist Junior Mack who plays traditional jazz and blues with experiential ease, and Santiago-Hudson’s professional-level blues harmonica. Poignancy, violence and humor run tandem. ![]() ![]() Numb Finger Pete, Lemuel Taylor, Sweet Tooth Sam and Ol Po’ Carl- whose malaprops describe “The Entire State Building and Statue of Delivery” – are as vivid as Norma who rings the bell at 3 a.m., bloodied with her children in tow. Each has his or her accent, tone, cadence, octave and physical distinction. The solo actor channels 23 colorful, mostly uneducated characters as if a southern Damon Runyon, some with a line or two of dialogue, others with full vignettes. Nanny’s threats carry as much weight as one of her knife-wielding neighbors, yet kindness pervades. She breaks up several brutal fights, confronts a wife beater in a white Cadillac with quiet “bring it on,” confidence, and handles her own man, the much younger Bill, who impregnates a female boarder and leaves nine year-old Ruben to walk home barefoot in his swimming trunks after a fishing trip gone wrong. ![]() The boy’s replacement mother is, however, no pushover.
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