- Jan 9, 2004
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'Black Nativity' on way to become Chicago tradition
By Chris Jones
Tribune arts critic
Back for a second year at the Goodman Theatre in fine, full-throated fettle, the Congo Square Theatre Company's "Black Nativity: A Gospel Song Play" is well on its way to filling an unnecessary long-term gap in downtown holiday entertainment shows offering some spiritual sustenance.
Part timeless Christmas pageant from an African point of view, part juiced-up carol concert, part serious history of African-American music and part unabashed church service, "Black Nativity" is the kind of show that those who despise the secularization of Christmas can choose with perfect confidence.
No "Happy Holidays" on anyone's lips here.
Churches tend to fill up the week before Christmas with guilty congregations craving a shepherd or two and a few choruses of "O Come All Ye Faithful." In essence, this show offers people much the same thing chances for personal prayer included except it all takes place within the confines of the theater.
But agnostics need not be afraid. The ambience is ecumenical, the spirit tolerant and the atmosphere warm and forgiving. And although I've seen some darn impressive and extensive nativity services in churches, it would be tough for any group of church volunteers to top the resplendent costumes on view here from designer Reggie Ray.
Certainly, "Black Nativity" is not exactly new material. Nor is the staging bursting with innovation. Penned by Langston Hughes in 1961 (between his musicals "Simply Heavenly" and "Tambourines to Glory"), this show has been a staple for years in a lot of American cities. The second act the concert section of the show could use some updating with more recent developments in Gospel music. But Hughes, of course, is not around to do so. And so you have to see his words about modern "electrified" developments in Gospel much as you see the text in an old Christmas movie.
The clunks are part of the charm.
At last year's premiere, Congo Square looked stretched to the gills by such an expansive production. Even this year's show more polished and with better sound reproduction isn't yet perfectly honed, but it feels considerably more comfortable and relaxed. Much of last year's cast is back under Mike Malone's sure-handed direction including Dereque Whiturs, whose Joseph is the choreographic root of the show. And the changes in staging and musical content are minor.
But the remarkable Kalind Haynes a tall fellow who not only sings well, but makes you believe every word emerging from his mouth is a terrific addition to a cast that seems to thoroughly enjoy every last note.
Congo Square already has announced the show will return next Christmas. Good. It deserves to become a Chicago tradition.
http://metromix.chicagotribune.com/reviews/critics/mmx-gsj23t80n.8dec06,1,319747.story
By Chris Jones
Tribune arts critic
Back for a second year at the Goodman Theatre in fine, full-throated fettle, the Congo Square Theatre Company's "Black Nativity: A Gospel Song Play" is well on its way to filling an unnecessary long-term gap in downtown holiday entertainment shows offering some spiritual sustenance.
Part timeless Christmas pageant from an African point of view, part juiced-up carol concert, part serious history of African-American music and part unabashed church service, "Black Nativity" is the kind of show that those who despise the secularization of Christmas can choose with perfect confidence.
No "Happy Holidays" on anyone's lips here.
Churches tend to fill up the week before Christmas with guilty congregations craving a shepherd or two and a few choruses of "O Come All Ye Faithful." In essence, this show offers people much the same thing chances for personal prayer included except it all takes place within the confines of the theater.
But agnostics need not be afraid. The ambience is ecumenical, the spirit tolerant and the atmosphere warm and forgiving. And although I've seen some darn impressive and extensive nativity services in churches, it would be tough for any group of church volunteers to top the resplendent costumes on view here from designer Reggie Ray.
Certainly, "Black Nativity" is not exactly new material. Nor is the staging bursting with innovation. Penned by Langston Hughes in 1961 (between his musicals "Simply Heavenly" and "Tambourines to Glory"), this show has been a staple for years in a lot of American cities. The second act the concert section of the show could use some updating with more recent developments in Gospel music. But Hughes, of course, is not around to do so. And so you have to see his words about modern "electrified" developments in Gospel much as you see the text in an old Christmas movie.
The clunks are part of the charm.
At last year's premiere, Congo Square looked stretched to the gills by such an expansive production. Even this year's show more polished and with better sound reproduction isn't yet perfectly honed, but it feels considerably more comfortable and relaxed. Much of last year's cast is back under Mike Malone's sure-handed direction including Dereque Whiturs, whose Joseph is the choreographic root of the show. And the changes in staging and musical content are minor.
But the remarkable Kalind Haynes a tall fellow who not only sings well, but makes you believe every word emerging from his mouth is a terrific addition to a cast that seems to thoroughly enjoy every last note.
Congo Square already has announced the show will return next Christmas. Good. It deserves to become a Chicago tradition.
http://metromix.chicagotribune.com/reviews/critics/mmx-gsj23t80n.8dec06,1,319747.story