Chicago Tribune - Recommended
"...Aside from all the incendiary fights between Ma and the white men who control her work (Thomas J. Cox and Stephen Spencer play the oily duo), “Ma Rainey” also contains Wilson’s signature riffs and monologues, all enjoyably rendered here by Alfred H. Wilson, A.C. Smith and Cedric Young on an ambitious and textured set from John Culbert CQ that attempts to show an entire American hierarchy inside a Chicago recording studio."
Chicago Sun Times - Highly Recommended
"...The Court production also leaves no doubt as to why “Ma Rainey’s Black Bottom” created such a stir when it opened a full quarter century ago, signaling the arrival of a galvanic writer for the American stage — one who possessed a masterful, highly distinctive voice from the start, with poetry rooted in colloquial speech but heightened by a touch of pure magic."
Chicago Reader - Highly Recommended
"... The production's emotional power stems from the sense of spontaneity and intimacy the cast achieve as they spin alternately hilarious or harrowing tales about being black in a racist society and a white-run music industry. Though the play's final outburst of violence seems contrived, there's no denying the compelling power of Wilson's poetic storytelling or the ensemble's first-rate acting."
Windy City Times - Highly Recommended
"...So go now to marvel at Court Theatre's outstanding revival of Ma Rainey's Black Bottom while you can. Court's talented ensemble pulls off all of the play's demands with such élan and polish that you shudder to think of the material performed by a lesser-caliber cast."
Talkin Broadway - Recommended
"...Director Ron OJ Parson's fine cast is led by Greta Oglesby as Ma Rainey and James T. Alfred as Levee. Oglesby is a powerful actress and singer; you never doubt Ma's authority or determination for a second. Whether she's haranguing her manager for his failure to bring her bottles of Coke to the session, insisting on casting her stuttering nephew to read an introductory line on the recording or threatening to fire Levee, you know she's not to be crossed, and Oglesby's vocals are easily strong enough to make you believe she's the legendary singer. James T. Alfred is equally powerful as the ambitious and angry Levee, the most thoroughly developed character in the play."
Centerstage - Recommended
"...I've already mentioned the cast, and the show also offers gorgeous onstage blues music (Oglesby's singing is really something) and an unflashy but spot-on design scheme. And when the whole package leaves the audience stung by some uncomfortable questions, it's hard to fault the smaller flaws."
Chicago Stage Review - Highly Recommended
"...Wilson’s writing magnificently captures the personal reinventions required to emerge from collective and systematic oppression. How do you reconstruct from the ground up, from the molecule up, when your atoms have been smashed? Some find grace. Some just wing it and others are fusion reactions that either bring about their own demise or provide energy for parasites to harness for profit."
Time Out Chicago - Recommended
"...The production, Parson’s 12th at the helm of a Wilson play, which follows Court’s celebrated renditions of Fences and The Piano Lesson, is a tremendously sensitive, potent staging. Alfred H. Wilson blazes as Levee, the role that launched a young Charles S. Dutton; during his second-act knife fight with God, it’s hardly possible to breathe."
ChicagoCritic - Highly Recommended
"...Greta Oglesby is fantastic as the strong-willed blues singer. The production features some terrific 20’s blues tunes as well as powerful performances. James T. Alfred carries the weight of all African-American rage as he self-destructs near the end. This powerful drama is filled with telling stories and realistic attitudes of the period. August Wilson’s place in American as a serious playwright was established with this excellent work. Court Theatre and Ron OJ Parson sure know how to mount worthy productions of Wilson’s work."
Chicago Stage and Screen - Highly Recommended
"...this particular play about the south side produced on the south side makes for a special occasion for audiences who love his work. Directed by Ron OJ Parson, who is very familiar with Wilson's work, this is a stellar production on a fantastic set by John Culbert with as skilled a cast as one can ask for."
Chicago Theater Beat - Highly Recommended
"...Overall, this production is too fine for a little critical kibitzing about pacing in some scenes. Court Theatre has a near perfect production on its hands. The entire cast is evenly and indisputably excellent. Even small roles leave lasting impressions, like David Chrzanowski’s smug Policeman, Stephen Spencer’s stressed out but enabling manager, Irvin, and Kristy Johnson, who seems born to play Ma’s woman, Dussie Mae. Now the audience just has to get there before time runs out."
