Mary Bridget Davies received a 2013 Tony Award nomination for her powerhouse Broadway performance in “A Night with Janis Joplin.” She returns to the role and co-directs Ensemble Theatre Company’s production, now at Santa Barbara's New Vic Theatre through April 26.
Mary Bridget Davies received a 2013 Tony Award nomination for her powerhouse Broadway performance in “A Night with Janis Joplin.” She returns to the role and co-directs Ensemble Theatre Company’s production, now at Santa Barbara's New Vic Theatre through April 26. Credit: Loren Haar photo

“I first performed Janis when my blues band was playing in a biker bar in Grafton, Ohio,” recalled Mary Bridget Davies, star of Ensemble Theatre Company’s production of “A Night with Janis Joplin” in Santa Barbara.

“A big biker came up and asked, ‘Can you sing any Janis?’ Her ‘Ball and Chain’ has a classic blues chord progression, so we went with that. It was my first, and I’ve been singing it ever since.”

That included the Broadway production of “A Night with Janis Joplin,” for which Davies received a 2013 Tony Award nomination for her powerhouse depiction of the pioneering singer called the “Queen of Psychedelic Soul.” Joplin is perhaps best known, however, for the soulful “Me and Bobby McGee,” a hit song released in 1970 after her death at age 27 from an accidental drug overdose.

Now, Davies returns to the role in Ensemble Theatre Company’s production of “A Night with Janis Joplin,” an immersive experience of songs and stories with performances through April 26. Tickets and information are available at etcsb.org.

A ‘Disciple’ of Blues and Rock ’n’ Roll

Davies, the youngest of four children, grew up in Cleveland, Ohio. Her mother loved the blues and, before marrying her musician father, dated Gregg Allman of the Allman Brothers Band.

“Mom would put on ‘Piece of My Heart’ and sing ‘Summertime’ to us kids. Both are in this show,” she said. “We were all disciples of blues and rock ’n’ roll.”

The backup singers also take solo turns as artists who were Joplin’s influences, including Odetta (Sadé Ayodele), Etta James (Jenna Gillespie Byrd), Aretha Franklin (Sha’leah Nikole) and a composite character, “The Blues Singer” (Melissa Musique). Photographs of Joplin’s life are projected on the back wall of the set.
The backup singers also take solo turns as artists who were Joplin’s influences, including Odetta (Sadé Ayodele), Etta James (Jenna Gillespie Byrd), Aretha Franklin (Sha’leah Nikole) and a composite character, “The Blues Singer” (Melissa Musique). Photographs of Joplin’s life are projected on the back wall of the set. Credit: Loren Haar photo

While in high school, Davies was a vocalist in the jazz band and a competitive dancer. She later formed a blues band and toured, including that fateful gig in Grafton. 

She met Sam Andrew from Big Brother & the Holding Company, Joplin’s first band, when he came to Cleveland as the musical director of the show “Love, Janis,” based on the singer’s letters. 

“He said, ‘You look like her, but do you sound like her?’” she recalled. She later won the lead role in the show’s touring company with an audition of “Ball and Chain.” 

“I knew I had it because all the other singers auditioning had musical theater voices,” she said, laughing.

Davies spent five years on and off with the show, and then toured as the singer on reunion tours of Big Brother & the Holding Company. She thought she had “given up Janis,” moved to Kansas City and formed a successful band.

Sha’leah Nikole as Aretha Franklin sings a gospel-infused version of “Spirit in the Dark,” which turns into a rousing revival with the Joplinaires and Mary Bridget Davies as Janis Joplin. It closes the first act of Ensemble Theatre Company’s “A Night with Janis Joplin.”
Sha’leah Nikole as Aretha Franklin sings a gospel-infused version of “Spirit in the Dark,” which turns into a rousing revival with the Joplinaires and Mary Bridget Davies as Janis Joplin. It closes the first act of Ensemble Theatre Company’s “A Night with Janis Joplin.” Credit: Loren Haar photo

Then, she heard about a new Off-Broadway show in development about Joplin, written by Randy Johnson. She auditioned in New York for “A Night with Janis Joplin” and was cast as the understudy.

However, in fairy tale-like fashion, she was elevated to the lead during previews in Cleveland. 

“It was after two or three months of rehearsal,” she said. “The lead suddenly dropped out after the first preview. So, I got to open the show in my hometown, and it’s been mine ever since.”

‘Re-energized’ by Co-Directing 

Now, 13 years later, Davies has captured Joplin’s iconic whiskey growl — even when singing softly during the cast’s first rehearsal onstage at the Old Vic Theatre.

The throttled power exploded during “Piece of My Heart” in the lyric, “You know you’ve got it, if it makes you feel good.” (Oh yes, it does.)

The set evokes a nightclub, and a five-piece band will be on stage. An iron spiral staircase winds to a second-floor balcony spanning the width of the stage.

“Janis performed in a lot of dives, and we wanted the set to have that vibe,” said Brian McDonald, who co-directs the production with Davies. “We didn’t want a polished look. It’s like the walls have history. This is a living, breathing place of the blues.”

Mary Bridget Davies and Brian McDonald co-directed Ensemble Theatre’s production of “A Night with Janis Joplin.” “I wanted to direct this because I was intrigued with Janis Joplin,” McDonald says. “She was a blazing enigma and only famous for three years. I also wanted to be in a room filled with tremendous joy, and it is.”
Mary Bridget Davies and Brian McDonald co-directed Ensemble Theatre’s production of “A Night with Janis Joplin.” “I wanted to direct this because I was intrigued with Janis Joplin,” McDonald says. “She was a blazing enigma and only famous for three years. I also wanted to be in a room filled with tremendous joy, and it is.” Credit: Julia McHugh / Noozhawk photo

The walls appear to be crumbling plaster, exposed brick, and sheet metal. McDonald said that images relating to Joplin’s story — including the blues singers who inspired her — will be projected onto these “neutral surfaces.” 

Ensemble’s artistic associate and director of education since 2018, McDonald has a long list of directing credits. Most recently, he staged “Million Dollar Quartet” and “It’s a Wonderful Life: A Live Radio Play” for the company. An award-winning actor, McDonald has appeared in numerous productions and national touring companies.

“I’m re-energized and rejuvenated from the work I’m doing with Brian,” Davies said. “It’s more than different blocking and nuances; it’s been fleshed out. It’s more of a melding of worlds, and the projections move the story along.”

McDonald added: “I didn’t know how it would be to co-direct with someone who had worked on this play so many times, but Mary was totally open and not afraid to deepen a moment or take a new approach, so it feels fresh.”

A New Approach

In the script, a changing trio of back-up singers — called the Joplinaires — accompany Joplin and take solo turns as artists who influenced her. 

For this staging, he and Davies elevated these songs into fully staged productions with costume changes and choreography.

However, there was a snag on the set. The spiral staircase didn’t have enough clearance for their tall, ornate wigs. McDonald addressed that, while choreographer Miss James Alsop worked on dance moves with Joplinaires Jenna Gillespie Byrd (who also portrays Etta James and Bessie Smith), Sadé Ayodele (Nina Simone and Odetta) and Melissa Musique (“The Blues Singer,” a composite).

Joplinaire Sha’leah Nikole took center stage on the balcony to portray Aretha Franklin, whose gospel-infused duet with Davies closes the first act.

“There’ll be a big reveal,” McDonald said as the set’s back wall rose to show a bank of colored lights. “There will be Aretha, in a glittering gown with a feathered cape and a lavish wig. It’s a moment.”

In rehearsal, Nikole wore sparkly shoes and sang slowly and quietly at first to draw out the intro to “Spirit in the Dark.”

“Sometimes I get weary,” she crooned. “Hey, yeah,” shouted out the Joplinaires. “Tell it, sister!” 

Nikole sashayed down the staircase — rotated to allow room for her coiffure — to address the audience directly, “Let me tell you about Janis … .” 

“There are throughlines, even though it is a concert,” McDonald said. “It’s an emotional journey — funny, intimate, honest, and has surprising moments. It runs the gamut.” 

The duet built into a full-on gospel revival, complete with clapping, tambourines, and the Joplinaires dancing in the aisles. 

“Everyone will be on their feet by the end,” McDonald said.