An intoxicating hip hop
Biblical tale told in rapturing rap by talented and great duo

As rap and hip hop are light years away from the formation of my musical tastes, I armed myself by taking with me to the Tarragon Theatre someone who had a closer understanding of the machine-gun delivery of rap accompanied by the hypnotic beat of hip hop. I needn't have bothered however because after a few minutes I was as mesmerized as the rest of the audience by the gravity-defying performances of Jerome Saibil and Eli Batalion in their retelling in "raplets" of the Bible's Cain and Abel story. These two young performers and lyricists are here again with their highly original retelling of one of the Old Testament's most recognized and easily understood myths.

The plot goes something like this: J. Hoover (a.k.a. Jehovah) is president of the hip-hop label, Hoover Records. He commissions M.C. Cain, played by Saibil, and M.C. Abel, played by Batalion, to update and retell the Biblical story of Job in the allegory of contemporary corporate life. Unfortunately the two fall out, arguing over the best way to interpret the story, and Cain shoots Abel twice in the head.

In the second act, the Hoover Records V.P. Finance, Lou Saphire (a.k.a. Lucifer), takes over and finishes the narration. We are then exposed to some Nietzschean mind-games which are too complicated to try to condense into this review. Cain is arrested. Abel recovers from his trauma but is kidnapped and pursues his training to defeat the Demon of the Eternal Recurrence, the threat faced by all hip-hop artists. This is done by experimenting with offbeat musical time signatures, all of which combine to create a highly complex musical score, sung at the usual breakneck rap pace by the two performers.

From the moment the audience enters the theatre, we are put in the mood by some deft D.J. urban black hip-hop spinning. We are next required to stand in our places and do some stretch exercises. Then, to help us get into the rhythm of the music, we are given the lyrics to read as the Prologue is sung. Finally, we dive into the play.

It is interesting to note that although rap began on the ghetto streets, when it was labeled "gangsta-rap", it has now become the vocabulary of youth marketers who use the rapid-fire rhyming and rhythms to sell everything from soft drinks to sports clothes. Unlike other musical trends, hip hop has become a lifestyle embraced by young people all around the world, regardless of race or colour.

Job: The Hip-Hop Saga owes its appeal and its many awards to the incredible versatility and vitality of the two performers. They are all alone on stage except for a display of water bottles and a couple of towels. They never trip over a syllable or miss a beat as they sing to the recorded musical accompaniment. They are also aided by the inventive lighting and sound provided by Gavin Fearon.

More musically knowledgeable people than I can comment upon what the printed programme refers to as "the progression in the tone, lyrical style, music and concept of time and space" inherent in the music. I can only comment that, philosophical considerations aside, this Montreal duo has provided Tarragon audiences with a fascinating and intoxicating evening of theatre. u

Job: The Hip-Hop Saga is playing in the Tarragon Theatre's Extra Space at 30 Bridgman Avenue, until December 14. Tickets are available by calling 426.531.1827.

— Bruce Raymond