The Cast Photo by Alan Davis

Taylor lightly fictionalizes herself by featuring two "Janets," one an adult who serves as the show's narrator and one the child/young adult whose relationship with her younger brother was deeply interwoven with the music and movies of The King. Most of the brief dramatic scenes center on the family's experiences living in Chicago's infamous Cabrini-Green housing project, though these scenes are interspersed with some meta-commentary by the ensemble and/or adult Janet on Elvis's relationship to Black culture and Taylor's perspective on her own relationship to the man and the music.

What there is of the family story is a bit thin at times (though no thinner than other entries in this genre), but the performers bring enough warmth and humor to it that more of this material would have been welcome. Similarly, when the ensemble members (with a special appearance by Little Richard) run the audience through the work of the outstanding Black singers Elvis was inspired by (or "inspired," as Richard can't resist noting), it certainly feels as though there is room for more of this interesting exploration.

The set design by Denise Karczewski, who also designed the lighting, features a relatively simple but effective rendering of the brick face of Cabrini-Green, flanked by rows of windows that serve as screens hosting both projections (design by DJ Douglass) and backdrops for squares of light that give the set a club vibe, as needed. The center wall of the set also revolves to reveal the family's spare but neat kitchen. Douglass's projections are primarily limited to images of Elvis and other singers, as well as photos featuring the families of both Taylor and Elvis. The most effective and impressive use of this part of the set comes during "Jailhouse Rock," when most of the cast don black-and-white-striped shirts and perform a riff on the movie's dance numbers (choreography by Christopher Chase Carter) as stills from the movie pop up in various panes.

The costumes (Evelyn Danner and Kelly Mosley are credited with wardrobe/assistant costume design) are well done. The "real life" scenes convey the passage of time and the change in the characters' experiences as the fifties give way to the sixties, and more critically, the ensemble's sharp, matching black leather jackets and white double-breasted suits, as well as adult Janet's gowns, keep the visuals grounded in the aesthetics of Black performance of the period.

The four-piece "house band" (Robert Reddrick serves as musical director) provides great support for a cast of talented singers, and Reddrick's talent for arrangements and medleys is on clear display. In a few instances, a singer might have needed the melody pitched up slightly to better suit their voice. But other than this and the occasional issue with mic placement, the music is the high point of and strongest recommendation for the show.

Rhonda Preston (Adult Janet) and Britt Edwards (Young Janet) are well-paired as the embodiments of the show's point of view at different points on the characters' timeline. Edwards, in particular, is both a believable moody teen and serious young adult, and Preston's wry "reads" on the play's dialogue elevate lines that might read as stale and trite on the page alone.

Melanie McCullough is a standout as Lucille/Mom, as she manages to capture the humor of the "Back in the Day Mom/Mom of Color" without ever lapsing into stereotype. McCullough and Jaitee Thomas as Gus/Dad also create an effectively loving, lived-in relationship and spark off one another as they fill different roles for Janet as she matures. Their performances are strong enough that the audience might wish that the scene after Joe's funeral were a bit weightier than it is in the text of the play. Similarly. Dennis Dent is very good as Joe, and I wish the character were more extensively present.

The ensemble members, Direoce Junirs, Trequon Tate, Dwight Neal, and Destin Warner, are all excellent, demonstrating strong, versatile voices. The occasional stumbles with regard to lyrics or choreography, paired with their stage presence, contribute to the intimate, homegrown feeling of the show.

Elvis Presley Was a Black Man Named Joe runs through April 20, 2025, at Black Ensemble Theater Cultural Center, 4450 N. Clark, Chicago IL. For tickets and information, please visit www.blackensemble.org or call 773-769-4451.