Karamu's 'Golden Boy' Has Gutsy Vitality

By PETER BELLAMY

There's gutsy, pulsating vitality in the musical, “Golden Boy," which Karamu is presenting as its first production of the season in the Proscenium Theater.

Director Nate Barnett, the talented singer, dancer and acter, who was graduated from Karamu to make his own way in the theater in New York and with the Kenley Players, has tightened up the show and created some inventine touches.

The pace is generally fast, although some of the performances are uneven. The intimacy of the theater adds to the dramatic impact of the story and action.

L

ON BROADWAY, THE Sammy Davis Jr. vehicle ended on a complete note of tragedy.

Barnett has reprised one of the musical's show-stopping tunes, "127th Street,” so that the proceedings conclude on a pleasanter accent.

Since there were not enough dancers available, Barnett has changed the boxing match ballet into an exciting, slow motion affair under blinking strobe lights. Inasmuch as the song, "Yes, I Can," was tailored for Davis' voice, it was wisely eliminated.

Those who saw the Clifford Odets play of the same name, produced in 1937, will find that changes have been made.

In the original script “Golden Boy" was a young Italian torn between fighting in the prize ring or playing the violin, which gave him a feeling of humanity and fulfillment. In the musical he is a black boxer trying to fight his way to the top in a white world.

THE SHOW IS stolen by George Gould, the former highly successful professional singer and a Karamu veter-

all.

In a complete switch from his real personality, Gould is cast as a gangster fight owner and homosexual, but his fag bent is subtley indicated. He drips with menace. His renditions of "This Is The Life" and "While the City Sleeps" have never found him in better voice.

The dancing, choreographed by Barnett, is exuberant. The choral work, supervised by Gwen R. Yates, is rich.

This is particularly true in the "127th Street" number in which lyricist Lee Adams compares the absurd notion of blacks a-singing and a-dancing in perfect happiness to the rats, vermin, garbage and drug peddlers, which infest Harlem.

They also are to be found in the "No More" number, which musical composer Charles Strouse has given a revival-meeting beat.

JOEL GRAHAM IN the title role puts a lot of soul in his characterization. He is not a dancer, but he moves gracefully. His voice at times is weak in the upper registers. However, he has a fine sense of rhythm and his fast lyrics come out loud and clear.

Martha Kaufman as the white girl loved by the black boxer has a pleasant voice which shows little or no signs of training. Yet her portrayal of a hard-nosed, promiscuous cookie has the stamp of realism.

Ed Dean, as the fight manager, is the epitome of a vulgar, loud-mouthed tinhorn gambler. David Coleman as the boxer's brother-in-law, could dance you straight up and turn left. Leroy Strawder in the role of the boxer's disapproving father has great dignity.

Twelve-year-old Lois Jamison is irresistibly cute, adds a note of comedy, and sings so everybody can hear, too. Phillip M. Yates gets in some mighty fine licks as a drummer in the music section.