"Co-Founders," show #918

Just closed at American Conservatory Theatre was a world premiere hip-hop musical, Co-Founders; a very energetic, hometown hype of a show. Bay Area residents who took this in were treated to beats, lingo, and name-drops that are all too familiar for those in the know. The direction was clipped, the choreography outstanding–in both its staging and execution–and the performances were all capable. Where Co-Founders needs to continue in as a start-up show is to figure just who, or what, is the lead character. 

The show starts off strong with its love and roots being in Oakland. The projections and sound design of BART, ridesharing, and the residential housing were cozy aesthetics and wonderful contextual touches, ensuring the sense of place is, indeed, Oakland. However, often times, in developing and propelling the central plot of Esata pursuing success at start-up supporting firm, Xcelerate, Oakland is subject to being tossed to the background, literally, or forgotten altogether. Then, it comes back full force with enough sporadic lyric and dialogue that it seemed like the creators forgot about Oakland and then wanted to make sure the audience loves it as much as Esata’s journey. When this musical figures out if Esata or Oakland is the lead, the rest of the details will improve or all for what already works to be strengthened.

Angel Adedokun was a fantastic Esata, making her plot of justifying her indiscretion (she hacks her way in to being accepted to Xcelerate) almost work. It takes quite a bit of suspension of disbelief to digest a highly successful and lucrative tech firm could be hacked into by an applicant but, by a deus ex machina FaceTime scene towards the very end of the show, that loophole sort of ties off. However, Adedokun’s vocals, dancing, and overall acting opposite some incredibly written characters never got lost in the shuffle, and was showcased extremely well. Roe Hartrampf played Esata’s eventual co-founder, Conway, in a endearing, nerdy turn that had plenty of heart and just enough jokes and phrases to adore. He pairs well with Adedokun in song, scene, and rivalrous chemistry when their initial teaming up must separate due to Esata's astronomic promotion with Conway being left solo.

Supporting highlight performances came from Jordan Covington, whose dancing, comedic chops, and vocals were excellent; Ryan Nicole Austin as the equal parts hilarious and voice-of-reason Kamaiyah; and Adesha Adefela, who delivered a superb Deb, handling the more emotional turns as Esata’s mother. Deanalis Arocho Resto’s Chadwick served as terrific support to Keith Pinto’s dastardly Victor, head haunch at Xcelerate. Pinto does the most he can with the obviously written villain, but Resto had a truly lovely arc as Victor’s assistant and eventually gets the ultimate payoff. However, it’s the act two scene and duet with Hartrampf’s Conway that stamped Chadwick as a fully-developed character and Resto’s performance did justice to the part.

Technically, Frederic O. Boulay (Projection System Designer) and David Richardson (Video Designer) teamed up in a stellar use of projected sets, lyrics, and color schemes. Jasmine MIlan Williams’s costumes were great in showing each character’s personality and popping off the stage. Jamil Jude’s direction was sturdy, setting a pace and attention to details with deft, giving strong foundation for Juel D. Lane’s exceptional, demanding choreography plenty of room to pop, thrive, and give texture to the characters and songs. With a very capable team in tow, I’m certain Co-Founders will continue to strengthen what works, edit what doesn’t, and continue sharing this story that pays wonderful homage to its roots, Oakland.