‘Thunder Knocking On the Door’ @ Jubilee Theatre
Photos by Kyra McGhee
Rickey Wax
Ever heard of a bluesical?
If not, don’t feel bad—you’re not alone. But it turns out a bluesical is a real and rare breed, and right now, Thunder Knocking On the Door is bringing it to life at Jubilee Theatre.
With book and lyrics by Keith Glover and direction by Charles Jackson Jr., this production fuses folklore, rhythm, and Southern mysticism into a theatrical experience that’s equal parts myth and music.
This isn’t your run-of-the-mill jukebox musical or glitter-drenched Broadway belt-fest. No, Thunder Knocking digs deeper. Glover’s bluesical is a journey into the roots of rhythm and blues, grounded in African American folklore and elevated by a soul-drenched score. Originally workshopped at places such as the Alabama Shakespeare Festival and Baltimore Center Stage (and having passed through the Dallas Theater Center as well) this play has walked many roads.
Now Jubilee offers its own version at the crossroads—a fitting metaphor, considering the mythic weight the show carries.
From the moment you walk into the theater, you know you’re stepping into something otherworldly. A projected thunderbolt slashes across the room while constellations spell out “Thunder Knocking,” courtesy of projection designer Holli Price. The spiral-shaped stage is flanked by two glowing stars—visual poetry nodding to the play’s central themes: duality, destiny, and the fine line between this world and the next.
The show wastes no time on drawn-out exposition. Instead, we begin with a jolt—lightning, thunder, and a searing guitar battle. It’s a “cutting match” (think: a blues duel with strings of fire) pitting the supernatural Marvell Thunder against local legend Jaguar Dupree Sr., the only man to ever best him. Rickie Jones plays Jaguar Sr. with regal defiance, while Reginald Dunlap II’s Marvell Thunder floats in with all the charisma of a rock god dipped in voodoo. When Jaguar wins, he earns both mythic status and a lifelong enemy. (Note to self: never beat a supernatural being in public. They will come back.)
Fast forward to 1966. Jaguar Sr. has passed, but his story lingers in the Southern town where his children—blind daughter Glory (Jada Jay) and son Jaguar Jr. (Kyle Spears)—wrestle with the echoes of their father’s legend. Into this fraught legacy comes Marvell Thunder once again, guitar in hand, vengeance in heart, and somehow... crashing at their house?
(Okay, let’s pause. Good Sister Dupree, played by Theresa Stuckey, is the one who lets him stay. Why? So they don’t look bad in front of company? Ma’am, he’s literally named Thunder. Maybe next time just say the guest room’s being renovated.)
Anyway, Thunder returns with a challenge. After already besting Jaguar Jr. and taking his father’s prized guitar—a move that sends Good Sister into a righteous frenzy—he offers Glory a deal: one more cutting match to win her father’s second guitar. If he wins, he keeps her guitar. If he loses, well… he’ll turn to stone. (Talk about high stakes. Most people just play for bragging rights.)
To up the ante, he tempts Glory with a supernatural offer: her sight, restored for a month, until the next full moon and the fated match. As the date approaches, something unexpected happens. The two begin to fall for each other. Glory risks losing her vision again, and Thunder, his power—love complicating the very rules they thought they understood.
Jada Jay as Glory brings a fiery presence to the stage. Her comedic instincts are sharp, and she radiates sincerity. But unfortunately, much of her vocal work was swallowed by the overpowering song tracks. Without individual microphones, her singing—so central to her character’s emotional arc—often got lost in the mix. I’d estimate I only caught about 40% of her lyrics, which made it difficult to fully connect with her journey.
Kyle Spears’ Jaguar Jr. had one of the show’s richest emotional arcs—a son struggling with legacy and identity. The writing was there, and some of his moments landed beautifully. But other scenes felt rushed or uncertain, like he was pushing through without full footing. With more time, his portrayal could evolve into one of the show’s emotional anchors. (I should point out that I saw a preview performance of the show, leaving plenty of time to solve these issues before opening night on April 18.)
And Reginald Dunlap II as Marvell Thunder? The look was chef’s kiss: picture Prince and Jimi Hendrix having a fashion baby, then tossing in a splash of trickster god thanks to costumer Karina Gutierrez. But vocally, the performance didn’t always hit the mark. Blues is about soul, not polish—it’s the kind of music that cracks your heart open. That said, even when the vocals fell a bit short, his acting kept him magnetic— Dunlap makes Thunder feel both dangerous and weirdly charming.
The true standouts of the night were Theresa Stuckey as Good Sister and Rickie Jones as Dregster (aka Jaguar Sr.). Their comedic timing, vocal clarity, and emotional grounding never wavered. Whether delivering zingers or powerful ballads, they gave a masterclass in supporting roles done right. (I’d watch a spinoff sitcom about these two characters running a Southern boarding house, no questions asked.)
The show could have greatly benefitted from a live band and a picking up of the pace. While the recorded tracks are well-produced, they lack the raw, electric energy that live blues demands. Even a two-person ensemble could have added warmth and spontaneity, giving the actors more flexibility and emotional range. I just couldn’t understand a show about guitars—with no live guitars.
But as the cast settles in for a long run, those seams are likely to smooth out. Thunder Knocking On the Door has an undeniable heart. It’s a story about grief, inheritance, and the bargaining we make with gods and ghosts—and maybe even ourselves.
WHERE: April 4-May 11, 2025
WHEN: 506 S. Main Street, Fort Worth (1/2 block south of Sundance Square)
WEB: jubileetheatre.org
