Black Girl Magic is Soulful, Unapologetic, and Refreshingly Woke.

Image Courtesy of Underground Performing Arts Collective

Black Girl Magic is soulful, unapologetic, and refreshingly woke. 

Let me explain. 

Underground Performing Arts Collective's Black Girl Magic settles in for a short residency at Zeiders American Dream Theater, Virginia Beach. Theatergoers pack into the beloved theater to experience the dynamic story of Sister, who is played by the extremely talented Cleo Baldwin.  Under the leadership of Sharon Cook (Director), Jennifer Kelly-Cooper (Co-Director/ Choreographer), and Kimberely Hemingway (Musical Director), this production follows Sister, as she struggles to make sense of her broken and bluesy reality. She is on a mission to redefine her existence and reclaim her self-worth and identity. However, the message is much bigger than Sister’s individual journey for identity.

Now, let me paint you a picture. 

Theatergoers enter the main room, scanning the house, trying to locate their seats. Excitement builds with each passing moment. Audience members are dressed to impress. Jill Scott sings through the house PA system about freedom and living her best life, like it is golden. This space is filled with a unique vibe, which is extremely important at this peculiar moment in America. Attacking Diversity, Equity, Inclusion, and Justice seems to be a uniquely American theme these days. However, DEIJ is at the heart of UPAC’s mission. A multi-colored image of four Black women is projected onto tall black curtains, and the tone of Black Girl Magic establishes an undeniable presence. 

Have you ever felt the energy of a protest? That wild sense and adrenaline of Good Trouble? Or that pressing need to scream when you scroll by the latest example of social injustice on your social media timeline? Black Girl Magic reminds me of that power, but it does not stop there. This show does not play in the area of knee jerk reactions. Black Girl Magic takes bold action. This production fearlessly explores the content that tends to worry Republican lawmakers and educators who fear teaching African American history. Maybe because fully teaching Black history means teaching resistance to anti-Black racism? Black Girl Magic finds a balance between fleshing out Sister’s personal crisis and exploring America’s racial past. 

Black Girl Magic leans into truth-telling and a version of history, which is told from a uniquely African American point of view. It entertains and educates at the same time. It aims to enlighten and provoke. It does not shy away from proclaiming that Black women matter, and that Black Lives Matter as well. This production clearly demonstrates that with every scene. 

Now, picture this scene. 

After Sharon Cook introduces the framework of the production, the house lights dim, and the struggle for African American liberation replaces the four Black women that have been projected onto the tall black curtains. Images of the past flash for the audience. The struggle for freedom splashes onto these curtains. Protests. Marches. Clenched fists. Crooked smiles. Picket signs. Sister finds a seat on the stage and begins to explain the relevance of the images. Her frustration begins to take center stage. Her search for self-determination, self-worth, and Black Girl Magic begins. 

Countless Black women that represent empowerment, resistance, and resilience begin to pour life into Sister. Sister stands aside and listens to the stories of Black women who resisted, survived, and found their Black Girl Magic. These women narrate how Black Girl Magic has been an undeniable force for many centuries. That Black Girl Magic is a power source. That Black Girl Magic is within the human spirit. 

Beginning with African warrior queens (and a princess)–played by Chonise Thomas, Del Sykes-Dinkel, KaJohnna Johnson, Keshara Bailey, and Missy Taylor–and some high-powered Black women from the past and present, the storyline intensifies. Sojourner Truth and Harriet Tubman contribute their stories of resilience and self-determination. Claudette Colvin and Rosa Parks contribute their voices. Michelle Obama, Stacey Abrams, Jasmine Crockett, and Maxine Waters give Sister a glimpse of today, offering insight and inspiration. All of these women provide sparks that put Sister on a path to recovering her self-esteem, self-worth, and confidence. 

Sister is immediately impacted, but she is still visibly frustrated as the story unfolds. 

To add to Sister's search for personal transformation and revolution, Black Girl Magic is filled with tender moments, upbeat dance routines, symbolic storylines, and entertaining ways of bringing awareness to the lasting impact of racial stereotypes.

Tapping into her inner jazz, Sister slowly comes alive with each voice that enters her world.  This constant rhythm of inspiration is the pulse of Black Girl Magic. By the time the Church Mothers arrive toward the end of the first act, Sister starts feeling the spirit and finding a positive headspace. 

Self-doubt continues to nag and annoy Sister, but she is clearly moving in a positive direction. However, even though her heart is essentially "full," she still has trouble connecting the past with her present, and the weight of the world is still on her shoulders. Her journey for self-discovery continues, a marathon that she continues to run.

Did I mention that the cast of Black Girl Magic is phenomenal? 

UPAC has always had an eye for some of the area’s most talented artists. This ensemble includes Acquanetta Spencer, Arnecia Williams, Ashlei Warren, Chonise Thomas, Christiana Cave, Cleo Nicole, Del Sykes-Dinkel, Elena Holeman, Joi Boone, HannahJo Hemingway, KaJohnna Johnson, Keshara Bailey, Kimora Brown, Mahayla Hall, Maya Boone, Missy Taylor, Paris Ward, Starena Anthony, Wyllow Smith, Zia Posey, and Zuri S. Lofton.

Throughout Black Girl Magic, the storyline deepens and widens with every scene, and the audience becomes a part of Sister’s journey for self-realization.  

Powerful scenes, like The Doll Test, explore the impact of racism on the identity of a young Black girl. This scene features Acquanetta Spencer and Paris Ward. 

Birmingham Girls recounts the bombing of the 16th Street Baptist Church, which occurred in Birmingham, Alabama on September 15, 1963. The scene features Mahayla Hall, Wyllow Smith, Zia Posey, and Zuri S. Lofton.   

Toward the end of the first act, Black Girl Magic takes the audience to the Black church with I’m a Soldier, Jesus on the Main Line, and I Get Joy. 

Act II begins by paying homage to Jazz and Blues by featuring musical selections by Bessie Smith, Big Mama Thornton, Billie Holiday, Ella Fitzgerald, Etta James, and Sarah Vaughn. 

Never losing sight of the story, Sister continues to make connections, which increases her confidence and self-esteem. You get the sense that Sister is reclaiming her identity and realizing she is more powerful than she ever realized. 

Black Girl Magic is filled with a lot of powerful scenes, skits, monologues, musical selections, and dance routines. Every scene is carefully connected and supports the theme of the story. Every song is selected to underscore the message. That Black Girl Magic is intrinsic to Black women. That Black Girl Magic will not be caged. That Black Girl Magic will not be denied.

Black Girl Magic is soulful, unapologetic, and refreshingly woke.