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- Broadway Guide
- Pride Month Theater
- ‘N/A’
- ‘Cats’
- ‘Pre-Existing Condition’
- ‘Dark Noon’
Davóne Tines plays Paul Robeson in a solo show on Little Island that weaves together the words and music of this American hero to tell his story.
June 30, 2024, 1:09 p.m. ET
“God gave me the voice that people want to hear,” Paul Robeson, the great African American singer, actor and activist, told the Black newspaper “The New York Age” in a 1949 interview.
Aware of his powers and obliged by his influence, Robeson inserted himself into an incredibly fraught moment in American history. His powerful advocacy for the rights of Black and working-class Americans made him a hero, but his political leanings put him at odds with the prevailing anti-Communist forces in Congress, which eventually impeded his career. Robeson’s fame was global, however, and he had plenty of opportunities abroad — until his U.S. passport was revoked because he would not disavow membership in the Communist Party in writing. He landed before the House Un-American Activities Committee (HUAC) in 1956, and although he was unafraid of being a lightning rod, he was wearied by it, too.
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Today, the legacy of Robeson’s divine bass-baritone voice and its oratorial capaciousness has outlasted the political tarring and feathering. There is no contemporary analogue for Robeson, an artist in a classical medium who became a household name and leveraged his fame to drive a public conversation around peace and justice. (Yo-Yo Ma, the beloved cellist who created the multicultural Silk Road Project, arguably comes closest, but without the controversy.)
Davóne Tines, a bass-baritone himself, pays tribute to that legacy in “Robeson,” a new one-man show at the Amph on Little Island that weaves together snippets of Robeson’s words with songs associated with him. On Friday night, the straightforward appeal of a popular-song recital collided with oblique, fractured references to Robeson’s life, cracking open a fictionalized glimpse into the emotional turmoil of a man who was seen as an impenetrable “titan,” as Tines put it. It was a vigorously played, at times frustrating show, carried aloft by Tines’s fiery assurance.
Initially, the show’s structure seemed transparent enough. Tines’s renditions of songs like the labor anthem “Joe Hill,” which he delivered with confident smoothness, were interspersed with Robeson’s words from newspaper editorials, television interviews and onstage remarks. Dressed in a Carnegie Hall-ready tuxedo, Tines began with an admirable, if a bit woolly, vocal impersonation of the era-defining singer, emphasizing a deep well of sound.
