Time flies and already I am half way through my first reading of Week 3’s Fences (I am finding I need to read through these plays at least two times to really “get” it). But before getting too far away, I want to put down on paper some reflections on Ma Rainey’s Black Bottom.
I mentioned towards the end of the session a proposal that the star of the play is not Ma Rainey. I believe the star is Levee, even though his end at the play’s conclusion is not a pleasant nor a pleasing one. Levee is the modernist, he represents the avant-garde, the next wave in musical composition, while Ma represents the old, entrenched way, the “old jug band music” to which Levee repeatedly refers.
But Levee has his own issues. He was emotionally traumatized as a child, forced to watch the gang-rape of his mother, then physically traumatized when he tried to stop the rape with a knife and was slashed with the knife across his chest. He was further traumatized when his father, seeking to exact revenge against the rapists (and successful in killing four of them), was caught, hung and burned in the woods. Wilson describes Levee in the scene-setter as flamboyant and buffoonish, as playing the wrong notes frequently, and as often confusing his skill with his talent.
Still, he is the star of the play, the archetype for Louis Armstrong, who as a young man played trumpet in Ma Rainey’s band. See Louis Armstrong, the First Great American Modernist here: Was Louis Armstrong the First Great American Modernist?. My question is, was Wilson gently leading us to this conclusion?
We also took note of Levee’s obsession with shoes, getting into arguments twice in the play when band members “stepped” on his shoes, the final act resulting in an enraged Levee committing the knifing murder of the band leader, Toledo. We discussed in class the possible symbolism of Levee’s fixation on his shoes, although the class did not all agree that shoes may have symbolized mobility, transportation, moving out of a bad situation and moving towards a good or better one. I personally thought the shoe symbolism concept was one with merit, and I found myself on YouTube listening to Robert Johnson’s original “Walkin’ Blues” and more recent covers of the Johnson masterpiece by Eric Clapton and Jerry Garcia (Grateful Dead) (videos below).
Levee has yet another thematic connection to Robert Johnson. It is said that Robert Johnson “sold” his soul to the devil in exchange for his music talent. Levee mentions in two separate conversations his willingness to “sell” his soul to Satan in conjunction with his overall rejection of Christianity and more traditional beliefs. We saw that “skepticism” expressed by Becker in Jitney, and we’ll see it again with Troy in Fences. Maybe this is another conclusion Wilson himself is leading us to – skepticism as a humanist element of modern thought.
Some notes for today’s discussion on Ma Rainey’s Black Bottom
Week Two – Ma Rainey’s Black Bottom
- Only play not set in Pittsburgh. Set in Chicago
- 2nd play in series but Wilson considered it the first play in cycle of history plays.
- Two plays merged into one.
- In irony of all ironies, Broadway producers wanted Wilson to turn Ma Rainey into a musical for better chance of success. Instead Wilson debuted Ma Rainey at the Yale Rep in its original form, cementing a long and productive relationship with Lloyd Richards, the Yale Rep director.
- Play is a three ring circus of sorts.
a. Irvin, Sturdyvant, and Ma.
b. Ma, Dussie and Sylvester.
c. Cutler, Slow Drag, Toledo, and Levee (the band)
6. And minor constellations:
Dussie and Levee
Ma and Cutler
Slow Drag and Cutler (22 years)
Toledo and Cutler
Levee and Sturdyvant
OK. As promised, the Walkin’ Blues videos:
Robert Johnson original
Eric Clapton cover
Grateful Dead (Jerry Garcia) cover