Stanley E. Williams and the "Black Nativity" cast at the Lorraine Hansberry Theatre this year have pulled out all the stops and transformed the story that might have been inspired by Langston Hughes, but has certainly taken on a life of its own Year Nine. Carla Punch's "Dancing Mary" and Antonio Naranjo's "Dancing Joseph" had a chemistry Saturday night I hadn't noticed before in other productions. Joseph really seemed to care about his dear wife who was about to give birth on the streets of Bethlehem.
The song the choir sang later on, expressing sorrow at the treatment they gave their lord, was no excuse. They said, "They didn't know who he was, otherwise they'd have treated him better." I thought about all the people who are denied basic human rights because someone doesn't recognize their worth. If nothing else, this story is one that shows how wrong it is to value one life over another. The setting of the gospel story of Christ's birth this year is framed by another story--a Christmas pageant at a local church. It's a great way to illustrate just this, why we should treat everyone the same. What if Mary had miscarried or lost her child?
Yvonne Cobbs-Bey's musical arrangements and the trio, headed by Ms. Faye Carol with Yolanda Caro Freeman, not to mention Cobbs-Bey are wonderful. Carol was even more on point than usual. This is one live recording I am looking forward to purchasing next year.
I wondered when Mary was left to wait for Joseph to return with lodging why he never returned and after she is surrounded by the choir --all women, she emerges with a baby, Joseph no where to be found. It felt like James Baldwin's "Amen Corner," not Langston Hughes retelling of the Christmas story with gospel music.
I mean, how stereotypical. In the ghetto, dads do this all too frequently. And when one thinks about the Black family and the damage enslavement still has on its development, to change the story, which is about family where one of the few men on stage is honorable, is unthinkable. Not only was Joseph not the kid's biological dad, he took care of him as his own. This is a story that shouldn't be altered. I hope Joseph is back at manger to witness and help Mary in "Black Nativity Take 10."
The "Three Shepherds" are now deacons and the "No Good Shepherd" is now a jazz musician who can't hold his liquor. His treatment reminds me of how jazz music was frowned on by the church. Thank goodness there are places where there are jazz masses in New York; and here, of course, we have the Church of St. John Coltrane. I obviously didn't like the reference, but perhaps the director is being historical in the expressed bias?
The great songs are too numerous to name them all, but my favorites were all of Faye Carol's: "No Room," "Silent Night," "Sweet Little Jesus Boy," "He's an On Time God" and "Get Away Jordan." Whether she was on or in front of the beat, the musicians were with her. The two person band - Roland Pollard on keyboards and Davon Vigay on drums - were a big difference from the larger bands in the past, though just as good, especially the young drummer, a high school senior at Emery High in Emeryville. He was playing electronic pads. The two musicians looked so cool on stage. When I saw Vigay later on as I was leaving, I was surprised he was so young.
The stage was blue sky, lit with stars - the landscape uncharted and open in Act 1. The church scene in Act 2 was its usual cacophony of laughter as the fast girl and fast boy were kept apart by church deacons and mothers situated between them in chairs. Mothers placing hankies on thighs a little too exposed. One husband put his coat on his wife's legs.
It was funny, the mood shifting between the reverent and the profane as the choir sang and the congregation testified - Rev. Andre Andree, leader of the flock guided the service. At one point early on, one of the ushers, Yehmanja Houff, sang this lovely song - rather she testified in song so convincingly - I almost expected people in the theatre to jump up and shout. At the end of the play we're on our feet also as the ensemble sang "Packing Up" and then "Giants."
The gospel celebration of Christmas continues through Dec. 30 at the Lorraine Hansberry Theatre, 620 Sutter, at Mason Street, in San Francisco. Call (415) 474-8800 or visit www.lhtsf,org.
Wanda Sabir - SF Bay View National Black Newspaper (Dec 19, 2007)