'Cookin' At The Cookery: The Music and Times of Alberta Hunter'

Alberta Hunter's tale is as old as time, her voice as legendary as they come. Her story of love and loss, trial and triumph, and an unwavering passion for jazz, is an inspirational chapter in music history.

In a production that is close to perfection, Hunter's poignant life is recalled in Studio Arena Theatre's "Cookin' At The Cookery: The Music and Times of Alberta Hunter," co-produced with Rochester's Geva Theatre.

Born in 1895 in Memphis, Tenn., Hunter discovered her talent and passion for singing in church early on. She soon proclaimed her dreams of singing in the world's biggest cities, not to mention the White House. Zealous in her youth, she imagined a life beyond the clapboard house she and her single mother shared.

Debra Walton absolutely shines in her portrayal of Young Alberta/the Narrator - a role specifically written for her. Walton performs a handful of characters in Hunter's life and career, the highlight being a jaw-dropping impersonation of trumpet legend Louis Armstrong, in a scene that is utterly unforgettable. Her performance is special and her talent overflowing.

Playing Alberta is Tony Award-winning and Grammy-nominated Ann Duquesnay, whose character spends the course of the evening preparing for her first live performance in over 20 years. While Walton's function as the narrator is to guide the various characters through Hunter's story, it is Duquesnay's vocal talent that defines her role. Neither are disappointments.

It would be enough for Hunter's story to be told as a straight play, without her memorable repertoire of songs to move it along. For Duquesnay's performance at the microphone alone, accompanied by a terrific four-piece jazz combo, everything about the show rises above and beyond the already high standard usually seen on Studio Arena's stage.

Directed and choreographed by the show's writer and creator, Marion J. Caffey, there is a sweet sense that this show was constructed with care and respect for the late Hunter. This homage is adeptly paid by Caffey's skilled cast, leaving the audience to take a little bit of Hunter's effervescence home with them. It's theater at its best and a rarity at that.

The show's serious moments in Hunter's young adulthood are dealt with in an honest and almost passive manner, as if to make audience members aware of the influences on her adult life without dragging down the otherwise positive spirit of the evening. Nevertheless, these touching moments are special and worthwhile.

Duquesnay's Hunter not only acts out younger versions of herself, she also plays her own mother, an artistic move that gives thoughtful insight to her long growth as a woman. Caffey's multiple roles as writer, director and choreographer are valuable in these instances, as it adds a depth to the actor's constantly fluctuating timeline. He has a tight hold on his own material and it shows.

For a body of music such as Hunter's, soulful and heartfelt, her songs play well to the sidelining plot. Among the highlights are the opening "My Castle's Rockin'," "Nobody Knows You When You're Down and Out," and the show-stopping "Handy Man," which was even funnier than most of the sharp dialogue.

It's hard to pinpoint which line, which song, or which moment is most touching, as they all hit nerves of the heart and soul. But there is one poignant quote from Hunter's mother that sums up the timeless story of a young girl who wanted only to sing: "Always sleep facing the window so you can see the sun rise."

A fearless spirit, an undeniable talent, and a heartwarming soul, Alberta Hunter's sunrise has yet to set.