A piece of musical theater trivia that I learned several years ago is that the first Broadway musical with book, music, and lyrics written by a woman is the 1973 Tony-nominated
Don't Bother Me, I Can't Cope. It was written by Micki Grant, a Black woman, who also starred in the show (we would have to wait over 50 years for the next Broadway musical with book, music, and lyrics written by a woman who also starred in it - Shaina Taub's
Suffs,
coming to the Orpheum next month). I couldn't understand why, in 15 years of seeing pretty much everything in #TCTheater, I had never seen this show; no theater company has produced it locally in my memory, and it's never been revived on Broadway after its two-and-a-half-year original run. That glaring omission has finally been rectified with Penumbra Theatre's joy-filled production of this historically significant gem of a musical. It's playing through April 5, and if you're a fan of musical theater history, or just music and/or history in general,
do not miss this show.
Don't Bother Me, I Can't Cope is a musical revue rather than a narrative musical, meaning there is no plot or throughline story, no named characters or set relationships. Rather, it's a series of vignettes, told in perfect little story songs, that as a whole tell a story of Black culture, Black history, Black life, specifically in 1970s NYC but with resonance to today. Wikipedia summarizes it thusly: "The all-singing, all-dancing show focuses on the African-American experience with songs on such topics as tenements, slumlords, ghetto life, student protests, black power, and feminism. The music is a mixture of gospel, jazz, funk, soul, calypso, and soft rock." That's never not relevant, and the show doesn't feel like a piece of history. There are some modern references in the music, costumes, a few comments, and the projections that show more current events, resulting in a show that feels both historical and urgently modern and relevant. It's a celebration of Black joy and culture and history, and a bold statement that in spite of the current administration's attempts to diminish or ignore it, it's not going anywhere. The Black community that is an integral part of America is to be celebrated, and that's what this show is and does.
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| photo courtesy of Penumbra |
Patdro Harris has directed and choreographed around the country (including Broadway), and Penumbra wisely tapped him to direct and choreograph this production. It's so full of life and joy that literally spills off the stage into the audience (the cast walks through the theater on several occasions, be prepared to join the line if you're sitting on the aisle). Under his eye, these potentially separate or disconnected songs all flow from one to the next, combining to create something much larger than the sum of its parts. The dancing is so incredibly fabulous, particularly one long dance-off that takes us through the decades of dance styles, past the 1970s and into the present, that almost brought the house down. The show is so high energy, but also has moments of quiet and powerful reflection in some of the slower songs. It feels very well-balanced and complete in its two-hour runtime.
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| photo courtesy of Penumbra |
Music director Sanford Moore leads the four-piece backstage band; unfortunately we can't see them but we can hear them driving us through this fantastic Tony-nominated score with a cool '70s vibe but also more modern touches. The nine-person ensemble of singers/dancers/actors give their all to this piece and must leave the theater feeling exhausted and exhilarated, at least that's how this audience member felt just watching them. The cast is a beautiful mix of veteran performers (Broadway actor Charles Holt, #TCTheater favorites Aimee K. Bryant and Austene Van, the latter replaced by understudy Latanya Boone at the performance I saw, fitting right in with the group), new faces (Artistry standout Aliya Grace,
Twin Cities Theater Bloggers' 2025 favorite emerging artists Antonisia Collins), trained dancers (Daonna Lewis and Demetrius McClendon), and standout vocalists (opera singer Darius Gillard and
recording artist Nathan Barlow). Although to categorize them like this is not really fair, they all do everything, each one bringing their own unique individual talent to the show, and also creating a cohesive group telling this story (or stories).
As if all of the above weren't enough, the design of this show is also fantastic and adds to the experience. The practical set replicates a NYC neighborhood, a row of houses with windows that open and close, so performers can stand behind them and look out at the neighborhood or interact with people on the street. Projections hint at change of seasons or show us historical images that relate to the song being sung, or the many Black faces that populate our world. I'm obsessed with the costume design, especially the Act I '70s color palette of cream, maroon, and various shades of brown. Most of the costumes are chic streetwear (including several lounge sets I would like to own), with a few of the characters more dressed up, showing the variety of lifestyle. The Act II costumes are an explosion of color that drew an audible reaction from the audience, in a similar style but more modern and vibrant. (Scenic design by Lance Brockman, costume design by Wanda Walden.)
I don't know why it took so long for me to see a production of this musical that is not just historically significant, not just socially relevant, but also fan-freakin-tastic! But I'm glad
Penumbra's production was my first experience with it; it sets a high standard, with all-around top-notch elements (direction, choreography, performance, design, music) that combine for something breathtakingly, brilliantly fun, inspiring, and satisfying.
