Review: It Ain’t Nothin’ But the Blues

Review: It Ain’t Nothin’ But the Blues | Vintage Theatre | Aurora, CO | Curtain Up! | Eric Fitzgerald

Vintage Theatre kicks off summer with It Ain’t Nothin’ But the Blues, running now through June 21 in a vibrant, full‑throated staging guided by director/choreographer Johnathan Underwood, a long-standing presence in Denver’s theatre community. He leads a powerhouse ensemble of vocal talent drawn from across the metro area, some making striking Vintage debuts, others returning with the assurance of seasoned collaborators. Together, they deliver a rich, roots‑deep celebration of the blues that feels both steeped in history and thrillingly alive.

It Ain’t Nothin’ But the Blues has deep Colorado roots: the piece was first developed at the Denver Center for the Performing Arts before gathering momentum through regional runs and ultimately making its way to Broadway in 1999, where it earned multiple Tony nominations, including Best Musical. Created by Charles Bevel, Lita Gaithers, Randal Myler, Ron Taylor, and Dan Wheetman, the show is a sweeping musical journey that traces the lineage of the blues from its origins in West African musical traditions through the Delta, Memphis, and Chicago. Its score—an expansive, carefully curated roster of seminal blues numbers—functions as both a history lesson and a celebration, honoring the genre’s cultural weight and its enduring influence on American music.

Underwood’s staging is grounded in the personal declaration he makes in his director’s notes—identifying himself as “a Black man from Memphis,” raised “on rhythm, on grit, and on truth,” and now searching for that same truth through music, as a queer Black artist. That perspective infuses the production with a palpable sense of ownership and lineage. His direction and choreography favor authenticity over ornament, shaping the evening as a communal act of storytelling rather than a museum‑piece history lesson. He gives his singers room to testify, to lean into the emotional architecture of each number, and he keeps the stage in near‑constant motion—fluid, unforced, and responsive to the music’s shifting pulse. The result is a staging that feels lived‑in and deeply felt, a reminder that the blues is not simply performed but carried.

Before diving into the cast, it’s worth noting how fully the audience embraced the music itself. Throughout the evening, listeners responded with an immediacy that felt almost concert‑like—calling out to the performers, clapping in rhythm, and, in more than a few cases, taking to the aisles when the spirit moved them. That level of engagement turned the night into a lively, shared experience, blurring the line between stage and house and underscoring just how powerfully these songs still land.

L to R: Kenya Mahogany Fashaw, Atlas Drake, Daja McLeod, CJ Swain, Myles Wright, Liyah V. Patrick, Chrisnel Akele, Jozeph Mykaels | Photo credit: RDG Photography

The production’s vocal landscape is wonderfully varied, and Underwood uses that range to full advantage. Chrisnel Akele brings a commanding physicality to “Come on in My Kitchen” and a moody, late‑night ache to “Walking After Midnight.” Atlas Drake shifts the room’s temperature with a stirring “I Know I’ve Been Changed” and a smoldering, velvet‑lined “Fever,” while Kenya Mahogany Fashaw—an undeniable audience favorite—unleashes powerhouse vocals on “I’m Gonna Do What the Spirit Says Do” and the crowd‑pleasing “Someone Else Is Steppin’ In.” Daja McLeod tears into “St. Louis Blues” with thrilling abandon and adds a sly, magnetic spark to the “Fever” duet, and Jozeph Mykaels, a familiar and much‑admired presence on Denver stages, delivers both grit and warmth in “Walking Blues” and “I Can’t Stop Loving You.”

Center Stage: Kenya Mahogany Fashaw | Photo Credit: RDG Photography

The evening’s texture is further enriched by Liyah V. Patrick, whose “My Man Rocks Me” carries a confident, blues‑club swagger, and whose work in “The Thrill Is Gone” adds a welcome note of melancholy. CJ Swain, making an impressive professional debut, handles “Crossroad Blues” with assurance and leads the company through a rousing “Sweet Home Chicago.” And Myles Wright sets the tone for Act II with a buoyant, good‑time “Let the Good Times Roll,” later bringing the house to its feet with a playful, irresistibly charismatic “Candy Man.” Together, these eight performers create a tapestry of voices that honors the revue’s musical lineage while giving the evening its pulse.

Music Director Jerimiah Otto, anchoring the band from the keyboard, provides the production with a steady, expressive backbone; his playing shapes the evening’s emotional contours as much as any onstage vocal performance. He’s joined by musician AbdulKarim Islam, whose work adds depth, texture, and an easy musical rapport that rounds out the sound. Together, they create a foundation that feels both robust and responsive, enriching the storytelling at every turn.

The physical production is anchored by a streamlined, purposeful set from Jeff Jesmer and Megan Davis, whose work gives the performers ample room to move while keeping the focus squarely on the music. Jordan Hull’s costumes set the tone from the outset, opening the evening with garments evoking the production’s African roots before shifting to a palette that reflects the revue’s musical journey. Kevin Taylor’s lighting design adds shape and atmosphere throughout—subtle when needed, bold when the music demands it—while Luke Rahmsdorff‑Terry’s sound design keeps the vocals and onstage band in crisp balance, allowing the show’s musical richness to come through clearly.

In the end, what Vintage offers here is a testament to the blues’ enduring power and the artistry of those carrying it forward. Under Johnathan Underwood’s assured direction, the production finds both shape and soul, driven by music that never loses its vitality and a cast whose collective strength turns every number into a shared act of storytelling. It’s an evening that honors the genre’s roots while celebrating the performers who bring it roaring to life—sublime voices, potent musicianship, and a spirit of generosity that lingers long after the final chord. This is an exceptional way to spend two hours in the theatre as summer unfolds before us.

For Information and Tickets: https://www.vintagetheatre.org/performances/aintnothingbuttheblues