‘Sweet Potato Queens’ is spirited humor
Who doesn’t want to be queen of the world?
That’s part of the philosophy of the “Sweet Potato Queens” movement created by Jill Connor Browne and her band of women crowned with mountainous hair and draped in sequined, lurid costumes. Inspired by her book series, women have formed some 6,000 empowerment chapters around the globe.
By rebelling against a drab existence and inventing an outrageously largerthan-life, hyper-sultry identity for herself and her friends — and hijacking a local parade — Brown inspired a movement of countless thousands of followers across the nation.
Its newest incarnation, a musical comedy-drama, will be hosted by Theatre Under The Stars at Hobby Center.
Atrio of creative minds has birthed “The Sweet Potato Queens” musical, part of the TUTS Underground series. Tony Award-winning playwright Rupert Holmes wrote the adaptation while renowned lyricist Sharon Vaughn and composer Melissa Manchester crafted the songs and score.
Vaughn and Manchester made a pilgrimage to Jackson, Miss., to better understand the spirit of the Sweet Potato Queens.
“Jill is a very soulful woman,” Manchester said. “She’s steeped in wisdom and a tremendous sense of humor.”
Her followers are often professional women, doctors and lawyers, who embrace their more colorful Queens’ personas as they face daily obstacles more fearlessly.
“These women have learned howto not take themselves so seriously,” Vaughn said.
Manchester also added that growing up often implies forgetting howto be lighthearted.
“Jill refused to be under the big thumb of life pressing downon her,” said Holmes. “She celebrates the fact that you have every right to be queen of the world for one day.”
Her sage philosophy is always followed with a wink: Sure, you may de- serve to “princess wave” on the last float of the parade, but it’s in a manner of poking fun. We’re all humans but can afford to laugh at ourselves.
“Jill just blew it upwith really high hair,” said Manchester of one thing that was not forgotten in the musical’s creative process.
Holmes took careful liberty with adapting the book series for the stage, delving into Browne’s nofilter humor and the Sweet Potato Queens’ world.
“I drew a lot from her real life, such as her relationship with her daughter and men in her past,” Holmes said. “Then compressed it all within two hours.”
However, Vaughn emphasized that the story is neither a musicalized documentary nor a Southern musical. There are elements that immerse the audience in Southern culture, but the message of effervescent empowerment is more significant.
Browne’s story travels between two realities — the environment in Jackson and an alternate, somewhat fantastical world where Browne calls herself “empress.”
Manchester and Vaughn experimented with rhythmic pulse and melodic tonality to give each character a unique voice. The musical score and Holmes’ book went hand in hand.
“It was easy to write because the characters are my homies, people I know very well,” Vaughn said.
At the same time, it was a rewarding process to reach into parts of the characters that would resonate with the audience, she said.
To preserve authentic- ity, the song lyrics also had to impeccably match with the words spoken in the books. Both Manchester and Vaughn are pop songwriters who found the transition to musical theater to be a luxurious experience.
“We could make up words and mispronounce them; it was gloriously fun,” Vaughn said.
In the end, working with each other garnered mutual respect everywhere.
“Any of these actors are Broadway-capable,” Holmes said. “It’s astounding because they’re doing something that’s never been done.”
The team also has been impressed by the cast, made up entirely of Houston locals, whose easygoing attitude, with constant tweaks and thrilling character transformations, have infused life into the story.
“Thewords they sing, those aren’t mine anymore,” Vaughn said. “They belong to the characters.”
TUTS’ mission is to showcase new musicals, and they believe that Houston’s arts scene is teeming with opportunities.
“Everyone here goes to the opera, the symphony and the ballet,” said Manchester. “The attendance is wide.”