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Black Nativity
By Langston Hughes
Produced by Congo Square Theatre Company
Owen Theatre at the Goodman
170 N. Dearborn
Chicago, IL
Tickets: 312-443-3800 or www.GoodwinTheatre.org,
$40 (2-for-1Sat matinee, half-price mezzanine rush tix at the box office 2 hours before show time and online at 10:00 a.m.)
Wed-Sat at 7:30, matinees Sat at 2:00 and Sun at 3:00, additional 10:00 a.m. performance Thur, 12/13
Running time is 1 hour, 45 minutes with intermission
Through December 30th
Black Nativity an Artistic Tour de Force
Director Rajendra Ramoon Mahara’s updated version of Langston Hughes’ ode to Christmas is the most satisfying re-telling of the Nativity that I have seen. That alone would make Black Nativity a standout among Chicago’s many Christmas shows, but it is more than that. This Black Nativity brings the symbolic meaning of the story of Jesus’ birth to vivid contemporary life in a manner and style that is high art and the cast features a collection of voices that plucks a “sweet-Jesus” gasp of from the chest of people of all faiths…or no faith at all for that matter.
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Mahara has a lot to work with and he uses the talented ensemble to maximum advantage. This new version opens in Darfur where the arch-angel Gabriel (Kalind Haynes) is sent to tell the story of Bethlehem to a woman in distress (Darfur Mary played by Malkia Stampley). The scene is loyal to Hughes’ play in that it recounts the story as the birth of hope that has kept joy in the hearts of Black people through millennia. Familiar spirituals and lesser known hymns unfold the story while the ensemble’s gospel singers and dancers move the audience from joyous shouts to tears and back again. 
African drumming gives the show a lively pace and Mahara’s and co-choreographer Lisa Johnson’s work is beautiful to watch. The diminutive Alexis J. Rogers as the Virgin Mary is a standout among a cast that is jaw-dropping good. Hers is perhaps the most powerful voice on the stage, but every single member of the ensemble can belt it out and they know how to move. James Earl Jones II is powerful as Joseph and ensemble member Victoria, who reminds me so much of the late Nell Carter, is simply a joy to watch.
The first act of Black Nativity ends with the birth of Jesus and a criticism of the play has frequently been that the second act is a collection of jazz and blues numbers that are perhaps too disconnected from the story. Maharaj has changed that up a bit and incorporated gospel arrangements of Christmas songs such as “Silent Night”, “Oh Come All Ye Faithful,” and “The Little Drummer Boy” into a bit more of a cohesive story leading back to Darfur where the other Mary awakens from her nightmare and proclaims “Joy to the World.” It is still largely musical revue, but it is after all a Christmas show, so who could complain about traditional Christmas music from such talented performers?
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Certainly not this reviewer. I kind of like Christmas anyway and I love good gospel singing. So did the audience. I happened to catch one of the discounted Saturday matinees and the audience was into the show like a Sunday morning Baptist church meeting. The cast played off it and it enhanced the experience. If you see only one holiday show this year, this is the one. It is a prayer for peace on earth.
HIGHLY RECOMMENDED
Randy Hardwick
randyontheglobe@yahoo.com for comments
Date Reviewed: December 8, 2007
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