The Playhouse's 'Cincinnati King' is an Entertaining, Informative Lesson in Local Music History

Neal Benari as Syd Nathan (L) and Stanley Wayne Mathis as Phillip Paul (R). Mikki Schaffner Photography

CRITIC’S PICK

Six years ago, Cincinnati Playhouse artistic director Blake Robinson asked playwright and director KJ Sanchez to consider creating a show that would tell a “quintessentially Cincinnati story.” With Cincinnati King — about the city’s mid-century recording company, King Records — he got exactly what he asked for. Sanchez took the time to interview musicians and others who were part of Syd Nathan’s enterprise in Evanston. This year marks the 75th anniversary of King’s founding, and it’s likely that the building where this all happened will become a shrine to local music creativity from the 1940s, ’50s and ’60s. If you want to know more about why this is an important piece of Cincinnati history, this is the show for you.

Sanchez and others interviewed dozens of people for the script, but she hit the mother lode with Philip Paul, a session drummer for hundreds of King recording sessions. A colorful storyteller with first-hand information who started working at King in the early 1950s, Paul knew Nathan, the bombastic, opinionated owner, as well as Little Willie John, a talented performer who never quite crossed over the bridge to the stardom he deserved. Paul, Nathan and Little Willie have been translated into onstage characters for Cincinnati King. (On opening night, the real Philip Paul, now 93, was there to watch.)

The show is not a comprehensive history, but rather a collection of anecdotes presented chronologically to create a vivid picture of the stew of talent, diversity, ingenuity and mendacity that transpired on Brewster Avenue. Stanley Wayne Mathis, who portrays Philip Paul, presides over the tale with a bemused air that is both affectionate and honest. He’s telling the story of how the studio really was back in the day.

Neal Benari blusters and bellows as Syd, a man who imperiously turned a small-change business into the sixth-largest recording company in America. Richard Crandle is completely charming, sympathetic and convincing as the spirited Little Willie John, a singer whose life ended tragically; he’s the show’s singing star. Mathis and Benari each have a featured number (the latter is a hoot as Benari growls his way through “Sixty Minute Man,” a double-entendre hit that was fist recorded for King).

There are plenty of moments featuring other stars thanks to Anita Welch and Cullen R. Titmas. They provide back-up vocals, but especially shine in vignettes — with Welch as Lula Reed (“It’s Easy Child”) and Annisteen Allen (“I’m Doin’ It”) and Titmas as Moon Mullican (“I’ve Done It”), Cowboy Copas and a Delmore Brother (“Blues Stay Away from Me” — which actually has two versions, one by the Country Delmore Brothers and another with Crandle as Blues singer Lonnie Johnson). For a brief moment, Welch even impersonates James Brown. They round out the portrait of an enterprise that encompassed an incredible spectrum of popular music — “hillbilly” numbers (today’s Country music) and “race” music featuring African-American artists (R&B) — that laid the foundation for early rock & rollers like Elvis Presley, Jerry Lee Lewis and Carl Perkins.

Crandle is exceptional as Little Willie John, who covered a mind-boggling range of material, from the sensual “Fever” to the crooning “Need Your Love So Bad.” He also offers a dazzling portrait of the singer’s sensational moves — from a time before James Brown (who eventually recorded at King) became known for his sweaty, sexy stage performances.

The singers are backed by an excellent quartet: drummer Richard Livingston Huntley, pianist Ralph Huntley, guitarist Seth L. Johnson and bassist Terrell Montgomery. Presented in the Playhouse’s Shelterhouse Theatre, the show unfolds on set designer Misha Kachman’s intimate Cincinnati Jazz club, with sleek marble floor and a curve of a bar with backlit liquor bottles. Brian J. Lilienthal’s effective lighting ranged from moody to nostalgic.

As the audience departed post-performance, I overhead a conversation between two people who clearly knew the history of King Records. One said, “They really told the story from every point of view.” The other answered, “Yes, indeed.” Cincinnati King is entertaining and informative. Anchored in local history, it’s not a show that’s likely to move on to other cities and venues. Lucky us to have it here.

Cincinnati King, presented by the Cincinnati Playhouse in the Park, continues through Dec. 23. More info/tickets: cincyplay.com.