By Marilyn Lester***In another departure from its usual style of presentation, 92NY’s Lyrics and Lyricists series presented Rebel With a Cause: The Artistry and Activism of Nina Simone as a two-hour cabaret, staring Amber Iman. The singer-actress is a 2024 Tony nominee for Lempicka, whose Broadway credits are Shuffle Along, 
Or the Making of the Musical Sensation of 1921 and All That Followed, and her debut on the Rialto, 2013’s Soul Doctor—Journey of a Rockstar Rabbi, in which she played Nina Simone, known as the “High Priestess of Soul.”
The opening number, a band feature, “African Mailman” (Simone) was a wowzer. The onstage septet blasted a clear, bright sound beautifully arranged and perfectly balanced in sound delivery. Kudos to the uncredited sound designer for excellent tech. Carrying this excellence throughout the show, music director-pianist Michael O. Mitchell proved a one-man orchestra in his own right, yet never overshadowed the other members of the band. Often in the musical lead was ace trumpeter Jeremiah Flack, with Michael Thurber (bass), Sherrod Barnes (guitar), Lonnie Christian (drums), Emily “Freddie” Fredrickson (trombone) and Chala Yancy (violin, viola). This tight crew was a complete joy to hear from first note to last, providing much-needed uplift and energy to the show.
Iman’s entrance, well into the opener, was dramatic, and as she found her way to the first of her full vocal numbers, “Work Song” (Nat Adderley, Oscar Brown Jr.) her voice was revealed as strong and clear, with volume and dynamics nicely modulated. Back-up vocalists Tiffany Mann and Inès Massara entered on the next number, “He’s Got the Whole World in His Hands,” a traditional African-American spiritual, first published in 1927. These two powerhouse singers proved an anchoring asset to Iman’s consistently chipper deliveries. And therein lay a major flaw to Rebel With a Cause: Iman’s bright and bouncy personality was at odds with the earthiness and intensity of Simone’s. The overly-long narrative, by Jocelyn Bioh, akin to a Wikipedia article, lacked insight. Moreover, it was read by Iman from large index cards, an unpreparedness that further disempowered the story of Simone’s life.
The promotional material for Rebel With a Cause read: “Nina Simone was one of the most extraordinary artists of the 
20th century.” Indeed she was, but this fierce and amazing legend was not well-served and ultimately was missing from this production. Simone’s biting protest songs, “I Wish I Knew How It Would Feel to Be Free” (Dick Dallas, Billy Taylor), “Backlash Blues” (Simone, Langston Hughes) and especially the piercing “Mississippi Goddam,” which Simone wrote in a state of rage over the murder of Medgar Evers, were delivered Broadway-style, without soul or passion. Frenetic direction by Reggie D. White served as distraction, with the three singers constantly on the move—on, off and around the stage.
Rebel With a Cause was indeed a polished show, perhaps even slick, missing the point of the legacy advertised. It’s all well and good to have lighter material, such as “Feeling Good” (Leslie Bricusse, Anthony Newley) and “Don’t Let Me Be 
Misunderstood” (Gloria Cladwell, Sol Marcus, Bennie Benjamin)—that’s a necessary balance in a tribute show, but this “Simone Light,” while it might appeal to certain audiences, still missed the mark of authenticity about this icon of music and activism. Simone was a force; she performed and spoke at civil rights events, supported Black nationalism and eventually left the United States in frustration, spending her later (and last) years in France. This Nina Simone was absent from her own tribute. What a missed opportunity to sing and celebrate the complete Nina Simone and her far-reaching legacy.
Photos by Richard Termine
