LIFE, DEATH AND THE BLUES by Raoul Bhaneja (Theatre Passe Muraille, 16 Ryerson). Runs to October 19. $17-$38. See listing. Rating: NNNN
After two decades of pursuing parallel passions as an actor and frontman of blues outfit Raoul and the Big Time, Raoul Bhaneja‘s melding these two worlds in a soul-searching autobiography.
With the help of Juno Award-winning singer Divine Brown and backed by members of the Big Time, Bhaneja tells most of his story through a killer set of rocking, soulful, toe-tapping blues numbers.
At the heart of his introspective look at his relationship to blues music is an obvious statement he gets out of the way right at the start: “I’m not black.” A genre that values authenticity and lived hardships, the blues might not seem like an obvious choice for the young Bhaneja, who began his obsession as an affluent private-school kid from Ottawa with Irish and Indian ancestry.
At the outset, to spur the conversation that continues throughout the show, he positions himself as a “natural-born bluesman,” which Brown, the voice of black skepticism, takes issue with. The extended dialogue that follows allows Bhaneja to launch into a musical history of the genre based on his encyclopedic knowledge and introduce the music of legends like T-Bone Walker and Paul Oscher.
It also leads to Bhaneja’s own story: suffering heartbreak as a 13-year-old, working up the courage to jam with a busker at 17 and making pilgrimages to musical landmarks in Chicago and Memphis. All of these moments come to life with help from director Eda Holmes.
There’s a mix of self-deprecating humour and intriguing historical tidbits. But most prominent is Bhaneja’s internal struggle with his “outsider” appropriation of black culture and desire to be seen as “authentic” based on his near-lifelong dedication to the music and undeniable skill as a harmonica player, singer, songwriter and guitarist.
Important questions about cultural identity, appropriation and authenticity remain unanswered, but the attempt to parse and work through them is worthwhile and illuminating. The show is also an excuse to hear the group wail on some blues classics and originals.
Bhaneja’s blazing harmonica solos are a highlight, as are Brown’s vocals, including a powerful solo gospel number that nearly brings down the house.
