Toshi Reagon (born January 27, 1964) is an American musician of folk, blues, gospel, rock and funk,[1][2] as well as a composer, curator, and producer.
Reagon's first album, Justice, was released in 1990 through Flying Fish Records.[10] Since then, she has released many solo albums, including her most recent SpiritLand in December 2018.[10]
Her band, BIGLovely, has been performing since September 1996.[1][12] The name BIGLovely comes from a term Reagon's girlfriend used to address her in a letter.[1] The band includes Judith Casselberry on acoustic guitar and vocals, Robert "Chicken" Burke on drums, Fred Cass, Jr. on bass, Adam Widoff on electric guitar, and Catherine Russell on mandolin and vocals. The line-up also includes Jen Leigh, Ann Klein, Debbie Robinson, Allison Miller, Kismet Lyles and Stephanie McKay as substitutes.[12]
Parable of the Sower Opera
Reagon's Parable of the Sower rock-opera, based on the novel by Octavia Butler, had its world premiere at NYU Abu Dhabi Arts Center in fall 2017. Shortly after, the US premiere was performed at Carolina Performing Arts at UNC-Chapel Hill, where Reagon was also an artist in residence. On April 26, 2019, it was performed at the O'Shaughnessy Auditorium in Saint Paul, Minnesota. The performance, created and written by Toshi Reagon and Bernice Reagon, and directed by Eric Ting, included over 20 singers, actors, and musicians.[13] Reagon has been a big fan of Octavia Butler's works and her themes of Afrofuturism and the eerily similar political climates led Reagon to create the opera.[14] In relation to the differences between the novel and the opera, Reagon notes:
We had to make the opera different because the book is enormous. We wanted to focus on the idea of two communities: one that you are born into and that holds you. The second is an unknown community that you find and who finds you. We thought it should start with this known intimate community and then tell the story by bringing the entire theater and audience into that community. That is why the lights are up at the start of the performance. We wanted audiences to experience a comfortable space and then have the experience of watching things get uncomfortable. We decided to show how fragile we become when we hold on to something when it's time to change.[14]
