If director Stephawn Stephens’ goal was to make me feel like I was in a church back home in Georgia while watching his version of Black Nativity, he accomplished it and so much more.
The cast of 'Black Nativity' in Act One at Theatre Alliance. Photo by C. Stanley Photography.
Written by Langston Hughes, Black Nativity, which opened on Broadway in December 1961, retells the classic story with an All-Black cast. Infused with traditional yuletide favorites, classic and contemporary gospel and a bit of humor, this show opens up with an energy burst and doesn’t come off its musical high until the very last number.
Act One is set in Africa and recounts the birth of Jesus according to the gospel of St. Luke. Stephens musters up creative and hilarious ways to portray that there is ‘no room at the inn’ for Mary and Joseph. The couple knocks on the doors of Naomi’s Restaurant, Sasha Fierce’s Hair Salon, the Hylemai Harem Hideaway and Chipper’s Cheer Camp. All the couple manages to get from the owners is a resounding “There’s no room at the inn!” and slammed doors in their faces.
The most telling aspect of the first act is the dance between Mary (Keira Turner) and Joseph (Tony Thomas) on the musical number “No Room at the Inn.” They move like graceful beings across the stage that serves as both the birthplace of Jesus and the church house. The dance speaks more emphatically than any words. She is in the pains of childbirth. He is a concerned father. None of this needs to be said. It’s all portrayed through the dance. Turner moves with beauty and allure and Thomas with an ease of a seasoned ballet dancer.
Act One is all zest and pizzazz, full of foot-stomping, hand-clapping tunes and seamlessly flows from one song to the next. The three piece band, headed by musical director, Michael Terry, gives the impressive ensemble the melodies needed to belt out those extraordinarily profound songs. These twelve people all knit tight with near perfect harmonies and beautiful, clear, mighty voices mirror a mass choir. Standout performances come from the glorious ladies – Jacqueline O’Day Ellison, LaSharon Buttercup Johnson, Sherice Payne and Krislynn Perry and the deep timbre voiced men - Robert E. Person, Elton L. Pittman and Rafealito Ross. Each song has its strength, but the most memorable numbers include “Most Done Travelin,’” “Magnify the Lord,” “African Noel,” “Thank You,” “Praying Spirit,” and “Travelin’ Shoes.”
The cast of 'Black Nativity' in Act Two at Theatre Alliance. Photo by C. Stanley Photography.
I was breathless after the last number before intermission. It couldn’t get better than what I just saw. Oh, ye faithful, but it did and amazingly so. Act Two is set in the present day of a church and is the most compelling. It closely resembles an extended testimony session, church on Sunday morning after a long work week and having to face another. Gospel greats Mahalia Jackson, The Blind Boys of Alabama, The Caravans and James Cleveland are all portrayed by this dynamic ensemble. Crowd favorites such as “Soon One Morning,” “Sweeping through the City,” and “Peace, Be Still” elicited yelps, moans, and cheers from the audience. This cast took us to church and I, for one, never wanted to leave.
Costume Designer Levonne Lindsay wrapped the talented ensemble in an array of African infused prints and head wraps for act one and a rainbow of colorful suits and shirts for the second. The ensemble marched and pranced around the simplistic set, designed by Klyph Stanford, in an abundance of crimson, sun gold, oceanic aqua, regal purple, lime green and pastel pink. Stanford’s set of elevated wooden planks made it easy for the cast to glide up, down and around all while belting out songs to an enthusiastic audience.
There is power in gospel music. Black Nativity is two plus hours of CHURCH. There’s really no way to describe the experience of being in a church filled to the brim with people singing praises and fellowshipping together. You just have to be there. If you don’t go to church, well, then head on down to H Street to see this musical. You won’t forgive yourself if you don’t.
Running time: 2 hours and 35 minutes, with a 10-minute intermission.
Black Nativity plays through December 31, 2011, at Theater Alliance at H Street Playhouse – 1365 H Street, NE, in Washington, DC. For tickets, call (202)-241-2539, or order them online.
Ashunda Norris is a storyteller, poet and English teacher. A graduate of Paine College and Howard University, Ashunda has a Bachelor’s and Master’s degree in English. While teaching middle school English, she realized her true passion was creative and journalistic writing. Writing reviews for the Maryland Theatre Guide keeps Ashunda from pulling out her hair due to the high stress level of her day job. She has written a few short screenplays and is currently working on a full-length script, a novel and a collection of poems. When she is not teaching seventh graders the wonders of manners and a smile, Ashunda can be found on a stage reciting poetry, in a movie theater digging into a purse full of snacks or with a book in her face.
