Joti Van Carlos Gore has had many acclaimed performances and musical shows over the years. American-born and now based in Melbourne, Gore brings an impressive CV and an endearing presence to Blacknificense. He has chosen some wonderful numbers and, backed by a tight three-piece band, the evening – in two parts – rocked along nicely.
The theme for the night was connection and degrees of separation; Gore had some great examples of his one-degree status, having studied in New York around so many luminaries of music and music theatre. The first name he mentioned was Harry Belafonte, who encouraged his triple-threat abilities. Gore was off to a fortunate start in his career.
The choice of songs was eclectic and reminded us what the American popular and blues songbook has given us in terms of music and lyrics that evoke universal emotional resonances.
The first half of the show began with the legendary Sam Cooke’s ‘Shake’ – and Gore had us singing along, dancing in our chairs, with some of us on our feet as well. He played an assortment of percussive instruments that a few lucky audience members found secreted under their seats – maracas, anyone?
Then we went straight – well, not straight exactly – but immediately into two Billy Strayhorn songs: ‘Something to Live For’ and ‘Lush Life’ – witty, wry, acutely observant thoughts of a black man who was openly gay at a time when, especially for a person of colour, was a very brave position to take. Strayhorn’s compositions are timeless, striking as potent a chord in 2025 as they must have in the 1930s.
From these two lovely compositions, the night moved into Duke Ellington and Juan Tizol’s ‘Caravan’, with lyrics by Irving Mills, and with the Latin rhythms front and centre.
The intercutting of ‘What a Wonderful World’ and ‘Over the Rainbow’ worked really nicely, allowing Gore to play with his instinctively jazzy readings, while enjoying the hope and wonder of these two aspirational songs.
Two Cab Calloway songs: ‘Jumpin’ Jive’ and ‘Minnie the Moocher’ had us all singing the call and responses again, with Gore up on a café table in front of the stage cutting a few tap rhythms.
In between, the more contemplative moments were shared from his books of poetry and observations of life and loss.
Part Two began with a lovely arrangement by musical director and pianist Adrian Szondy of Strayhorn and Ellington’s ‘Take the A Train’, with upright bass played by Olie Powell and percussion by Tom Doublier. More Latin rhythms ensured with Antônio Carlos Jobim and Jon Hendricks’ ‘One Note Samba’. Then there was a change of tone with a satire of the song ‘Ain’t Nobody Here but Us Chickens’ – what else could you do with the implicit contempt of the lyrics but send it up?
Louis Jordan’s ‘Reet Petite and Gone’ makes reference to a ball of twine, an opportunity for Gore to inveigle an already-primed audience member onstage for a moment of very light restraint, then we were back to shades of blue with Harold Arlen and Ted Koehler’s ‘I Gotta Right to Sing the Blues’.
There was a great choice of material all night, with a supportive audience ready to jump in – literally in a couple of cases – to shake their bodies and hoot appreciation. Gore’s charm and feeling way with this material was very engaging; his autobiography dotted throughout told us how he got to where he is, and what informed his choices of songs for Blacknificense.
The lighting was classy, the costume – a smart metallic suit with an extended tailcoat ready for a red carpet moment – just right. The overall feeling of empathy and relishing the ideas in each song – some sad, some silly, some exuberant – left a very happy audience at the end of the show.
Read: Theatre reviews: Thirty-Six and Medium, midsumma festival
It was then we discovered that midsumma had encouraged Gore to bring the dates of this performance forward by six months – a considerable ask, as devisers and music arrangers know. We saw the first-ever outing of Blacknificense. So, the small moments of nerves – Gore has a double breath-catch sometimes when he speaks, for example – will be polished away quickly, giving his audiences a thoughtful, intelligent, charming work with the hidden depths present but not overwhelming.
Blacknificense – the Cotton Club Experience
Presented by Joti Van Carlos Gore
Chapel Off Chapel
Devised and performed by Joti Van Carlos Gore
Orchestrator and band director: Adrian Szondy
Vocal director and repertoire: Victoria Theodore and Daniel Mallari
Assistant director and announcer: Terry Yeboah
Assistant choreographer: Jess Mohi
Sound designer: Connor Brown
Costume designer: Isaac Lummis
Creative fashion design consultant: Todd Anthony, with the First Nations Fashion Design Team
Videographer: Eli Christopher Francis
Photographer: Nathan James
Stage Manager: Jessica Smart
Musicians, Adrian Szondy, Olie Powell, Tom Doublier
Blacknificense was performed 24-25 January as part of Midsumma Festival.
