In 1973, Stephen Sondheim’s A Little Night Music won Best Musical over Stephen Schwartz’s Pippin. They remain well known oft-performed musicals. Also Tony nominated that year was Don’t Bother Me, I Can’t Cope. Vinette Carroll was the first African American woman to direct on Broadway. With music and lyrics by Micki Grant, both were also the first black women nominated in their respective categories. How historic and rare? Other than Ms. Carroll’s second directing nomination for Your Arms Too Short to Box With God, the next African American woman to be recognized for direction was Leisl Tommy for the play Eclipsed…. 43 years later. This is exactly the type of show to be rediscovered at Encores!
Outstanding in every regard from start to finish, Don’t Bother Me, I Can’t Cope is a combination of cabaret, revival meeting and protest performed through song and dance. In this version, the original score has been rearranged and shortened to one act. This musical contains 24 songs and there are no lulls. Great song after great song from start to finish with varied musical styles including gospel, jazz and calypso. The performers were all excellent. Savion Glover (Bring In Da Noise, Bring In Da Funk) masterfully directed and choreographed Don’t Bother Me. The show had an effortless blend of song and dance; both soft and loud with serious and playful. I believe this show is so strong and so topical, it demands a full revival. Or just transfer this version as is, it’s that great.
The African American experience is explored in Don’t Bother Me. Naturally the topics covered include slavery, racism, assassinations and housing. Significantly, this musical is also about coping with the daily and systemic slights faced by a race of people in America way back in 1972. Updating the gorgeous song “Time Brings About a Change,” the lyric “Archie Bunker” was replaced four decades later with “Roseanne.” Doesn’t that help illuminate why people are kneeling at football games?
What’s particularly impressive about this musical is that anger is not expressed through negative emotions. There is hurt and despair under the surface but somehow the show coalesces into a musical entertainment. Ms. Grant’s songs are used to embrace the audience and vividly share its messages without a bullhorn. The spectacularly performed “Looking Over from Your Side” could not be a more timely. Considering another’s point of view is in short supply in today’s America. Perhaps a wide, diverse audience needs Don’t Bother Me, I Can’t Cope now, so we all can cope better than we are.