Poster - Lights Out - Nat “King” Cole at New York Theater Workshop

Lights Out: Nat “King” Cole at New York Theater Workshop – Review

“Lights Out: Nat King Cole” sometimes allows Daniel J. Watts, as Cole’s internal strife, to get way too much of the spotlight.

ByAmari Allah Hours Posted on Hours Updated on

[Unless Said Otherwise] Spoiler Alert: This summary and review contains spoilers.

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Summary

It’s the final night of the Nat King Cole show, and after a year’s run, there is still a desire to bargain rather than give in to grief. However, with the support needed behind the scenes and the finances lacking, it seems it is lights out.

But with mischievous energy, presented as the spirit of Sammy Davis Jr., dancing in Nat’s thoughts, it seems the lights may go out with an explosion rather than a flick of a switch.

Characters and Cast

Nat “King” Cole (Dulé Hill)

While becoming one of the first Black American men to get his own variety show, Nat was wrestling with what his legacy would be. With the push and pull between not doing too much and not doing enough ever present, he was torn and with the end of his program, there is the question if he would be one of the first and the last or if he truly made his mark and potentially paved the way for who is next.

Sammy Davis Jr./ Nat’s Alter Ego/ Nat’s Intrusive Thoughts (Daniel J. Watts)

From what it appears, not only is Sammy Davis Jr. one of Nat King Cole’s best friends, but he is the rebellious voice in his head. One who is haughty, mischievous, and represents all Nat would be if he were as outspoken and front and center in the Civil Rights Movement as his peers.

Eartha Kitt (Krystal Joy Brown)

What can be said? Eartha is Eartha. She is a diva, a goddess, a sex kitten, and the woman of many a man’s dreams.

Natalie Cole (Krystal Joy Brown)

Natalie, Nat’s daughter, may not have gotten to see her dad as much as she wanted, but loves him just the same, and you can see a lot of the work he has done, his legacy, was for her, and she knows it, and appreciates it.

  • Check out other productions we’ve covered starring this actor: [Link to Actor’s Tag]

Perlina Coles – Nat’s Mother (Kenita Miller)

Nat’s mother, Perlina, is the person who got him into music, mainly to help him navigate his emotions, especially in the face of the Jim Crow South and all it could do to a young Black boy.

Details

  • Language: English
  • Attendance Type: Offline – In Person
  • Event Status: On Schedule
  • Duration: 90 Minutes
  • Performance Date: May 1, 2025
  • First Performance At This Venue: April 30, 2025
  • Opening Night Performance: May 20, 2025
  • Last Performance At This Venue: June 29, 2025
  • Venue URL: https://www.nytw.org/show/lights-out-nat-king-cole/
  • Tickets Starting At: $49.00
  • Director(s): Patricia McGregor
  • Writer(s): Colman Domingo, Patricia McGregor
  • Scene/ Set Design: Clint Ramos
  • Costume Design: Katie O’Neill
  • Lightning Design: Stacey Derosier
  • Sound Design: Alex Hawthorn, Drew Levy
  • Choreography: Edgar Godineaux, Jared Grimes
  • Theatre Name: New York Theatre Workshop
  • Address of Theater: 79 East 4th Street (btwn Bowery & 2nd Ave) New York, NY 10003
  • Genre(s): Comedy, Drama, Biopic, Historical

Review

Highlight(s)

Dulé Hill [82/100]

Singing-wise, if you didn’t know better, you’d think it was a recording, but in the imperfections of the impression, you get a sense of Hill’s soul as he takes on the legendary crooner. But, beyond the singing, you get insight into someone who may have never positioned themselves to be a civil rights leader, an outspoken advocate, or someone seeking the kind of attention which would, after they pass, would inspire being put in a montage joining Billie Holiday, Nina Simone, and others from his time.

Yet, you’re allowed to see the push and pull of having a voice that can soothe the public or represent the people’s aching. Hill allows a man who experienced racism, both privately and publicly, to show the struggle of not only walking the tight rope but also the challenge of getting off it. I’d even say that for the smaller bits, like losing time with Natalie, even the little things are given a lens of expression that can’t be denied.

Ultimately, it reminds us that, even when someone isn’t loud and boisterous in their advocacy, it doesn’t mean they aren’t putting in the work to pave the road for those who follow.

Krystal Joy Brown as Eartha Kitt [83/100]

While the final episode of the Nat King Cole Show has many guest stars, often who play big-name personalities, no one holds a candle to Brown’s version of Eartha Kitt. Watching her performance reminded me that Kitt needed her own jukebox musical or biopic. Seeing Brown play her live reminds you of the playfulness, sensuality, and the entertainer in ways that conjure the need to watch old interviews, performances, and relive nostalgia.

Kenita Miller [84/100]

Whether singing, sadly interrupted, “Lift Every Voice and Sing” or reminding Nat, portraying his mother, of the hot head he once was and how she had him channel his passion into music, there was something about Miller. There was a desire to see more, and even in the comedic commercials she was part of, like a toothpaste commercial to make your smile all the more brighter as you grit your teeth, there was a level of versatility that was undeniable and breakout worthy.

On The Fence

Daniel J. Watts as Sammy Davis Jr & Nat King Cole’s Intrusive Thoughts [78/100]

Here is the thing, Watts plays Sammy and Nat’s intrusive thoughts in an incredibly theatrical way – for better or worse. From breaking the fourth wall and engaging the audience, running across the front row, and creating a slew of comedic moments, Watts sometimes goes beyond being Nat’s intrusive thoughts and becomes what could be seen as a utterly disruptive part of “Lights Out” for his role feels less of a compliment to the message of the production or Hill’s performance, and more so like a competition.

In many ways, while he is no longer part of the ensemble for Motown: The Musical, this feels like an audition to be a David Ruffin, and with how he wrestles attention away from Nat King Cole, it is easy for Hill to get eclipsed when they share the stage. Even when trying to work in tandem, during an intense tap dancing number, by that point Watts has engaged you, been such a ham, and has lurked on stage so much, like the class clown you are always waiting to say or do something, he eventually evolves from a distraction, the things Nat wishes he could say or do, to the star of the show with Nat simply being an entity he wants to possess and use as his mouth piece. Damn near like a mischievous demon, with progressive, but radical, values, trying to use Nat’s platform.  

The Message Lost Amongst The Chaos [75/100]

The official synopsis for “Lights Out: Nat “King” Cole is:

On December 17th, 1957, it was LIGHTS OUT on “The Nat ‘King’ Cole Show.”

Despite being the voice that built Capitol Records, Nat “King” Cole’s groundbreaking television show was rejected by Madison Avenue, unwilling to sponsor one of America’s first black television hosts. Now, on the night of his final broadcast, Nat must grapple with the complexities of his psyche, personified by his best friend and alter-ego, Sammy Davis Jr., and decide whether to quietly step out of the spotlight or go out with a bang.

In many ways, you may not expect this production to be a push to show, even if Nat “King” Cole is far from one of the first names you think about when it comes to entertainers who were part of the civil rights movement, he was still in it. Yet, from noting the hatred of how much powder was put on his face for southern audiences, to the point he didn’t recognize himself, to the struggles he had as a child and adult with those calling him dirty, ostracizing him, and making him feel he didn’t belong, it can be a lot to take in.

However, I would submit that Watts’s antics take away from that and this feeling that, for this bitter pill, there was a sugar coating via comedy to make it easier to swallow. But it is through the excessive amount of sugar, making Watts play like a jester or something akin to Rafiki in The Lion King, with being wise but playful to the point of seeming mad in the head, that the tone sometimes feels off.

Which, you could say, is because what we’re watching is the internal conflict between Nat’s thoughts and feelings. But, as much as it is understood we’re watching a man in conflict, at times you may wish Watts’ dramatics were toned down and the more subtle nature of Cole was more honored. For sometimes, it can seem Watts is made to be a crutch used out of fear that Cole, and Hill, in extension, wouldn’t be enough.

Overall

Our Rating [80/100]: Positive (See Live)

While Watts presents what could be a make-or-break role for Lights Out: Nat “King” Cole, there is no denying the effort and talent on stage. There is only a need to question whether or not, in pursuit of highlighting Cole’s private struggles, they needed someone big like Watts to present a laugh to keep the audience from potentially crying.

Content Information

  • Dialog: Cursing, Derogatory Language, Suggestive Language
  • Violence (Through Dialog/Story – No Weaponry): Gun Violence, Violence Against Children
  • Sexual Content: None
  • Miscellaneous: Smoking

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Amari is the founder and head writer of Wherever-I-Look.com and has been reviewing media since 2010. He approaches each production with hope, rooting for every story to succeed, and believes criticism should come from unmet potential, while praise is reserved for work that meets or exceeds expectations.