Which brings me to music (provided by L. Troy Dixon) and its presence in the production as a kind of guiding spirit. It wants to pervade everything, as music has pervaded the African-American experience for 400 years. But, again, because Bayeza has not been able to master the material, music becomes a shadow presence, a reminder of what the show might be: a hip-hop musical that truly elevates the urban decay of contemporary America to the realms of classical tragedy.
Homer G. & the Rhapsodies in the Fall of Detroit runs through March 10 at the Lorraine Hansberry Theatre in S.F.; call 474-8800.