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Ma Rainey's Black Bottom (The August Wilson Century Cycle) Hardcover – April 1, 2008


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Product Details

  • Series: The August Wilson Century Cycle
  • Hardcover: 120 pages
  • Publisher: Theatre Communications Group (April 1, 2008)
  • Language: English
  • ISBN-10: 1559362995
  • ISBN-13: 978-1559362993
  • Product Dimensions: 8.7 x 5.8 x 0.6 inches
  • Shipping Weight: 2.4 ounces (View shipping rates and policies)
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (18 customer reviews)
  • Amazon Best Sellers Rank: #1,433,194 in Books (See Top 100 in Books)

Editorial Reviews

Review

"The play's themes are not new to the stage . . . the black American search for identity . . . and the process by which any American sells his soul for what Arthur Miller calls the salemean's dream. Mr. Wilson's style, however, is all his own. . . . He has lighted a dramatic fuse that snakes and hisses through several anguished eras of American life. When the fuse reaches its explosive final destination, the audience is impaled by the impact."
—Frank Rich, The New York Times

"Extraordinary! Ma Rainey rides on the exultant notes of the blues!"
—Jack Kroll, Newsweek

"What a joy! Brilliant . . . explosive! One of the most dramatically riveting plays I've seen in years. You must see it!"
—William A Raidy, Newhouse Newspapers

"A genuine work of art . . ."
—Brendan Gill, The New Yorker
--This text refers to the Paperback edition.

About the Author

August Wilson is the most influential and successful African American playwright writing today. He is the two-time Pulitzer Prize-winning author of Fences, The Piano Lesson, King Hedley II, Ma Rainy's Black Bottom, Joe Turner's Come and Gone, Seven Guitars, Two Trains Running, Jitney and Radio Golf. His plays have been produced all over the world.

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Customer Reviews

4.1 out of 5 stars
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See all 18 customer reviews
A play I hope to star in one day.
Rico L. Reid
The dialogue interweaves with Ma's performance onstage and the band members during rehearsals.
 R I Z Z O 
As usual, the dialects ring true and the characters seem as if they really could have lived.
J. Blanton

Most Helpful Customer Reviews

26 of 28 people found the following review helpful By A Customer on February 4, 1999
Format: Paperback
This play shows how the rage caused by racism can be manifested in unusual ways. Each character, the blues singer and her band, has a different means of trying to gain control of a racist society hoping to, thereby, overcome it. The author's surprisingly humurous dialogue accentuates the story but, there is no mistaking the gravity of these characters's pain. Wilson's writing makes the play fast-paced and gives excellent insight to the histories of the individual characters. The use of blues lyrics and speech make them not just backdrops but characters, themselves. The abrupt ending seems a little forced, but the play is extremely entertaining.
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10 of 12 people found the following review helpful By  R I Z Z O  VINE VOICE on March 2, 2005
Format: Paperback
Recognized as a great American playwright with numerous awards, August Wilson has brilliantly chronicled the black experience through decades. Depicting the 1920s, he wrote "Ma Rainey" in 1982, a real life blues singer.

The scene for "Ma Rainey's Black Bottom", takes place in a recording studio in 1927 where two white music executives are making a record with blues singer, Ma Rainey and a group of musicians.

Because the focus is on four male band members. it may take a while to try to put a face with each character, but within a short time, you grasp who the characters are - their values, beliefs and fears.

Ma Rainey's tone of voice is profound and nobody can push her around. Some critics report that Ma Rainey was exploitive and abusive to her band members, but I certainly did not get that impression. She was just tough and she knew how important her role was in blues music! Ma Rainey didn't take any crap from the white executives or anyone.

The dialogue interweaves with Ma's performance onstage and the band members during rehearsals. Their identities evolve and it's clear who and why they are as they share their experience with racist America and we then know their role in a racist society and industry.

A dramatic ending caps the story when the most bitter player reacts violently when another member steps on his shoes. To me, the incident seemed unjustifiable to provoke such a violent reaction by another member. It appeared out of place.

If you have an interest in the work of a great playwright or another interpretation of black experience through the decades, read more from this amazing man.
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10 of 13 people found the following review helpful By David Bonesteel on November 10, 2003
Format: Paperback
This play is set in a studio during the early days of sound recording. Ma Rainey's back-up band awaits the overdue arrival of the so-called Queen of Blues, discussing their lives and arguing about the music scene and their places in it. The white studio execs are practically tearing their hair out over Ma's tardiness and the demands that she is sure to make when she arrives. When she finally comes, she is every bit as demanding and overbearing as we expect, but also very perceptive-she is well aware that black artists are being exploited by the very record company people who continually urge her to be "reasonable" about the amount of money that she "wastes" on personal demands while recording the music that makes them so rich.
Although it features very good dialogue and some fine monologues, nothing much happens dramatically during the course of the play. There is an explosive finale, but it feels contrived and overdone, as though Wilson didn't know where to take his characters after all of the talking stopped.
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1 of 1 people found the following review helpful By wheelockgroove on August 12, 2006
Format: Paperback
This is the fourth play I have read by August Wilson, the other three being "Joe Turner's Come and Gone," "The Piano Lesson,"and "Fences" - the latter two won Pulitzer prizes. This play deals with the same social issues concerning black Americans that are standard in the plays of Wilson. Of the four I have read, this one is unique in that it is set in Chicago and not Pittsburgh. I must say, as good as this play was, the story did not have as many dimensions as the others I have read, and therefore, not as complex - making less room for character development. To be fair, this was one of Wilson's earlier plays, and perhaps he was still trying to develop the social element in his plays. My biggest praises for the play is that it is very funny at times, more so than the others with which I am familiar. Also, as a musician myself, I liked the setting of the play (a recording studio.) I must say, however, that the dramatic conclusion of the play was a little overdone and puzzling.
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Format: Hardcover Verified Purchase
The mise -en-scene for this play is a recording studio in the early blues period. Its climax for me is a firey speech by MA Rainey tourching god and religion and their culpability in the white abuse of black people. One of the most steller angry speeches I have ever read. You will quite possibly sit there post speech stunned and saying to yourself "Oh No she didn't just say all that, did she?"
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By Tom Bloom on August 9, 2013
Format: Paperback Verified Purchase
It's a great play. I needed it for an audition. I'm not judging the play....maybe the delivery service, which was excellent. But everyone knows the play is an all-time classic.
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Format: Paperback Verified Purchase
The Mother of the Blues, Ma Rainey, is something of a diva. She uses her voice to empower herself as an African American female singer in the 1920's.
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By J. Blanton on May 22, 2013
Format: Paperback Verified Purchase
Great character's in dynamic spiritual-material interplay in this view of African-Americans in the 1920s. A black blues diva and her boys in the band in conflict with one another and their Jewish recorders and producers. The set is a music recording studio in Chicago. The producers want to make money. The band wants to make music. Ma Rainey (a characterization of a real singer) wants things done her way, but she also wants everyone in the band to be treated justly and fairly. Slow Drag just wants to get along. The trumpet player wants everyone to notice him and his style. Toledo, the philosopher, wants everyone in the band to take stock of his life and act in ways that benefit others, not just himself. The tragic ending emphasizes the continuing conflict of the material against the spiritual. As usual, the dialects ring true and the characters seem as if they really could have lived.
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