Review: Electrifying ‘I, Too, Sing America’ contains multitudes

I had the privilege to watch I, Too, Sing America (through Sun/13 at Brava Theatre) on its opening weekend, and I’ve been thinking about it ever since. As a poet and dancer from the Bay, I’ve never seen a production whose music, singing, dialogue, and dancing feel so naturally integrated into each aspect of performance. And if you’re reading this, it’s not too late to experience what can only be described as a synchronized movement of the physical and visceral. 

I, Too, Sing America is a collection of poem-songs brought to life by an all BIPOC cast of dancers and singers. The title is inspired by a poem published in 1926 by Langston Hughes, whose birthday on February 1 helped kick off Black History month.

In the original poem “I, Too”, Hughes writes how tragically bittersweet it is when a Black man is sent to “eat in the kitchen / When company comes,” yet still believes in the idea that he, too, is America. Hughes’ sense of persevering hope that America can (and will) change is captured perfectly in the multi-disciplinarian offering at Brava. 

The show’s music was composed by Othello Jefferson, a long-time Bay Area based musician who you’ll catch at every show as the conductor and pianist. I, Too, Sing America is in its third iteration of production, launching in 2018 with a small but mighty debut at Buriel Clay Theater. Director Jamie Yuen-Shore and Choreographic Director Christine Chung help bring to life performances that examine masculinity, the immigrant experience around language, and a woman’s right to say “No,” among other of-the-moment themes.

The talented cast creates both intimate and immersive atmospheres that ebb and flow to the rhythm of the word. Although I anticipated and adored choreography from ballet, jazz, and modern dance practices, I was hella hyped to see the representation of hip hop dance in I, Too, Sing America. This comes as no surprise, though, as award winning choreographer Jaylen Pea (he’s up first in this Missy Elliot tribute performance) is included among the cast. 

I was also excited to see the show’s interpretation of Denice Frohman’s spoken word piece, “Accents,” which was transformed into an upbeat clave composition that pays tribute to the Afro-Latin roots of the instrument. Tayna González Rivera, a Puerto Rican dancer trained in jazz and salsa, takes center stage during this number to embody the clave ritmo. She also delivers a punchline in Spanish as a response to the original poem’s assertion that ‘kitchen’ and ‘keychain’ sound the same.

The show’s declarations of pride in identity feels even more powerful given its home at Brava Theater on Calle 24, where the Latino Cultural District serves as a beacon of hope for BIPOC communities that continue to be displaced with gentrification.

The entire performance lasts approximately 90 mins with no intermission, though when you are mid-standing ovation at the end of the show, you’ll feel like it all went by too quickly. So here’s my review: This show is f-ing incredible, and it will only become more important and relevant as time goes on.

I, TOO, SING AMERICA runs through Sun/15 at Brava Theatre, SF. More info here.