Theater Review: ‘Don’t Bother Me, I Can’t Cope’

Now performed for a brief run in a concert format, the musical revue “Don’t Bother Me, I Can’t Cope” moves as well as challenges, at The York Theatre Company.
Theater Review: ‘Don’t Bother Me, I Can’t Cope’
(L–R) Devin L. Roberts, Marva Hicks, Raun Ruffin, Tina Fabrique, Doug Eskew, Jelani Alladin, Debra Walton and Darilyn Castillo in this concert version of "Don't Bother Me, I Can't Cope" at The York Theatre Company. Ben Strothmann
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NEW YORK—When “preacher” Doug Eskew launches into “I Gotta Keep Movin‘” at the start of “Don’t Bother Me, I Can’t Cope,” you know you’re in for an evening of foot-stompin’, hand-clapping entertainment. But not always.  Some of the numbers are quieter and thoughtful and help illustrate the African-American experience in a way that’s often moving and never angry. It combines gospel, jazz, soul, and calypso.

Now performed for a brief run in a “concert format” (scripts in hand but seldom referred to) by The York Theatre Company, this show, conceived by Vinnette Carroll,  enjoyed a two-and-a-half year Broadway run in the ‘70s. It was the first Broadway musical written entirely by a woman: Micki Grant, who was also featured in the original cast.

It's much easier to accept ideas of political or societal problems in a musical.
Diana Barth
Diana Barth
Author
Diana Barth writes for various theatrical publications and for New Millennium. She may be contacted at [email protected]
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