Among the many instances of time seeming to move unpredictably lately is the realisation that the National's production of
Ma Rainey's Black Bottom was exactly five years ago; the fictional story of the real-life "Mother of the Blues" who weaponised diva behaviour feels much more recent to me than that. The 1920s instalment of August Wilson's Century Cycle (better known as the Pittsburgh Cycle, except for the fact that this one play isn't set there) has been one of the more notable stage adaptations for the screen in recent months, unfortunately notable in large part for being Chadwick Boseman's final onscreen role. He plays Levee, horn player for the superstar singer, and the most cocky, vocal and jumpy member of the four-strong band waiting in a rehearsal room for her to arrive and begin recording an EP of some of her most famous songs. This includes the one which gives the play its title, and for which Levee has prepared a new arrangement.
