McDonald, 43, is a classically trained soprano who won her
last best actress Tony for "The Gershwins' Porgy and Bess" in
2012. But in "Lady Day" she becomes Holiday, who is considered
one of the greatest jazz singers ever.
The musical, which debuted off-Broadway nearly 30 years ago,
opened on Sunday at the Circle in the Square theater for a
limited 10-week run.
"With her plush, classically trained soprano scaled down to
jazz-soloist size, Ms. McDonald sings selections from Holiday's
repertoire with sensitive musicianship and rich seams of feeling
that command rapt admiration," said the New York Times.
The entertainment industry publication Variety said the musical
"was waiting for a great singer like Audra McDonald to reach out
and bring this tragic figure back from the grave," while the Los
Angeles Times said it is a "showcase for McDonald's rare
The show, written by Lanie Robertson ("Back County Crimes" and
"Nasty Little Secrets") is set in a small, seedy bar in
Philadelphia, where Holiday, in poor health, performed before a
handful of people just a month before she died in 1959.
Although Robertson was not at the bar for the performance, it
was described to him by a lover who was there, which prompted
him to write the show.
Holiday, who was nicknamed "Lady Day" by saxophonist Lester
Young, had what the musical's director Lonny Price ("Master
Harold ... and the Boys") described as a Dickensian kind of
[to top of second column]
But despite her impoverished childhood, abusive relationship and
addiction, Holiday's extraordinary talent and distinctive style
assured her stardom, even in the racially divided America of the
1930 and 1940s.
Although she enjoyed fame, Holiday died a poor drug addict at the
age of 44.
The bio-musical depicts Holiday's tragic life through songs such as
"God Bless the Child," "Crazy He Calls Me," "Strange Fruit" and
"What a Little Moonlight Can Do," and a monologue about her life — the poverty, drugs, a rape and the humiliation and discrimination
The audience is transported back to 1959 and the Philadelphia club
for that memorable performance. McDonald interacts with her pianist
and is accompanied by a small jazz band, but it is essentially a
"In more than a dozen songs, she captures the plaintive sound, the
eccentric phrasing and all the little vocal catches that identify
Billie Holiday's unique style. But it's her extraordinary
sensitivity as an actor that makes McDonald's interpretation
memorable," said Variety.
The Hollywood Reporter was equally enthusiastic.
"McDonald inhabits the role with such respect for the damaged
character she's playing — not to mention such uncanny vocal
transformation — that what could be a fragile construct becomes an
immersive drama graced with complex character shadings," the trade
(Editing by Eric Kelsey and Cynthia Osterman)
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