In the 1960s poet/playwright Langston Hughes, that giant of the Harlem
Renaissance who was then in his later years, brought forth what he termed a
song-play presenting and then praising the nativity story in the voice of
black-influenced gospel music. With over twenty-five songs, it was a
music-filled evening that reflected Hughes' late-blooming interest in the
theology of African Americans. The song-play has been remounted many times
with great liberties taken with its structure and, indeed, that structure
allows the insertion of other gospel music, especially in the loosely
structured second act. The Theater Alliance presents something other than a recreation of
the original. It maintains the nativity story structure of the first act and
then lets loose with a gospel concert for the second. Some of the voices are extraordinary
and the dancing of Rodni Williams and Avalon Bobb Brown is all
together first rate. Robert Person and David North fill the hall with their
full-throated sounds and there are solid solos from a number of the women as
well. But the one cast
member who captures and holds the attention and affection of the audience
the longest emits not a sound ... tiny Daquan Xavier James as the baby Jesus
holds every eye. |
Storyline: Relying principally on solid gospel singing with some moments
represented in dance, the first act presents the biblical account of the birth of
Jesus in song and dance. The second act is a collection of gospel numbers in
praise of the child born in the first act.
The published script for Langston Hughes
song-play includes sixteen songs in the first act and eleven in the second
act. The version presented here includes eight of the same titles in its
first act and none in the second while inserting ten new titles in the first
act and constructing a second entirely out of fifteen songs whose titles
don't appear in the original script. The first act is really a song-filled pageant of the
birth of Christ with stories of Joseph and Mary's search for lodging,
repeated refrains of "There's no room in the inn," the visage of the
shepherds and the travels of the three wise kings. Hughes titled his second
act ""The Word Is Spread" and the version here certainly focuses on
that message.
The first act is performed in glorious colors
of cloth with the entire thirteen member cast in the gorgeous costumes
"coordinated" by Wanda Lumpkins and Cynthia Rose. The second, on the other
hand, looks drab by comparison as modern garb of the suit and tie variety
replaces the vibrant palette and free-flowing forms of the first. Carleen
Troy's set design is an elegant implementation of Hughes' original
instructions - platforms on the stage and a Star of Bethlehem as a
background.
Music director Derrick Anderson leads the
three person combo supporting the singers and dancers. His work at the
keyboard is solid and sometimes sparkling while Jerry Phillips offers some
nifty riffs on bass and Timothy Jones lays down spirited rhythms at his drum
set. They work together nicely. The vocalists are more impressive for their
solo work than for their collective effort as a choir. Each is giving out with as
strong and as emotional a sound as he or she can but, as a result, volume
sometimes determines prominence, with the harmony obscuring the melody.
Still, the solos
are inspiring and the cumulative effect is a joyous evening of song.
Written by Langston Hughes. Directed by Stephawn
Stephens. Music Direction by Derrick Anderson. Design: Carleen Troy (set)
Wanda Lumpkins and Cynthia Rose (costume coordinators) Anne McCormally
(properties) Dan Covey (lights) Matt Otto (sound) Adele Robey (stage
manager). Cast: Avalon Bobb-Brown, Betty A. Carter, Korey Dean, Angel
DeJesus, Lulu Fall, Buttercup Johnson, Jasmin Johnson, Don Jones, Charles L. McCollough, David North, Darci Michelle Perkins-Peterson, Robert E. Person,
Rodni Williams. |
