Hoodoo Love

(l to r) Martasia Jones and Shariba Rivers in ‘Hoodoo Love.’ (Photo: Michael Brosilow)

“Equal parts musical, mystical and pedantic, Hoodoo Love, as directed by Wardell Julius Clark, is a Depression-era, Tennessee prism through which an audience member can grow mesmerized by any refraction. The play ends as it begins, with Toulou (Martasia Jones) staring out toward the railroad tracks, guitar strapped to her back, ready to ‘catch that train’ in search of her soul-singing destiny. In between these identical scenes, there is labor, love, loss, friendship, hypocrisy and hope, all sprinkled with a little of the Hoodoo magic Toulou borrows from her neighbor, a widowed former slave and shawoman known as Candylady (Shariba Rivers).

The play’s second, lengthy, and impossibly sexy scene is a bedroom tussle between Toulou and her lover, a complex rolling stone of a music man named Ace of Spades (Matthew James Elam). To the sweaty credit of intimacy and violence designer Rachel Flesher, audiences may find themselves jonesing for a cigarette after the couple’s lovemaking is through. Set against the backdrop of a Deep South thunderstorm, these few minutes are excitingly erotic, without bawdiness, and establish an authentic foundation for understanding Toulou’s addiction.

While Toulou prides herself on resourceful independence, Ace’s artistic gifts behind the microphone (and between the sheets) spring the young woman into the sultry Memphis stratosphere. With the passionate impatience of the smitten, Toulou engages the “good” magical services of Candylady to make her Ace of Spades think about staying a while. The women’s best intentions inadvertently touch off a sequence of disastrous events beyond antidote, reinforcing the play’s central ideological argument. Circumstances may be manipulated, but love and human nature are inherently immutable, answerable only to their own animal instincts.”

Read the full review on The Broadway Blog.

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