THEATER REVIEW
“The Old Ship of Zion”
Grade: B-
Through Aug. 23 (in rotating repertory with "Lillian Likes It"). 8 p.m. Saturdays (Aug. 1 and 15); 2 p.m. Sundays (Aug. 2 and 16); 8 p.m. Thursdays (Aug. 6 and 13); 8 p.m. Fridays (Aug. 7 and 21); 7 p.m. Sunday (Aug. 9); 8 p.m. Tuesday (Aug. 11); 8 p.m. Monday (Aug. 17). $10-$25. West End Performing Arts Center, 945 Ralph David Abernathy Blvd., Atlanta. 404-212-0815, www.essentialtheatre.com.
Bottom line: Well-meaning, if low-budget.
Generally speaking, Essential Theatre artistic director Peter Hardy’s aim is true: For more than 15 years now, his company has placed a special emphasis on producing new works by Georgia playwrights — and more power to him for it.
But that’s not to say his aim always hits the mark: Some of those two dozen shows (“Ravens & Seagulls,” “A Thousand Circlets,” “Sally and Glen at the Palace”) have been a lot better than others (“Qualities of Starlight,” “Stray Dogs,” “Mysterious Connections”), naturally.
“The Old Ship of Zion,” a drama by Columbus-based Natalia Naman, registers somewhere in the middle. It’s one of two premieres in Essential’s annual summer play festival, alternating performances with Conyers playwright Joshua Mikel’s “Lillian Likes It” through Aug. 23 at the West End Performing Arts Center.
“Zion” takes place in present-day Columbus, in and around a historic black church that has fallen on hard times in more ways than one. Its foundation is crumbling, literally as well as figuratively, as members of its dwindling congregation struggle in various states of “spiritual transitioning.”
Siblie (Jimmica Collins) is a conscientious Spelman student, back home to deal with an ongoing family tragedy, who finds a sense of comfort and support in the church. She also finds a kindred soul in Quincy (James Gerald Smith), a likable “stranger” in town, who’s torn between wanting to follow a righteous path and being true to his own (sexual) identity.
Although Quincy resists the friendly advice of Darryl (Lemond Hayes), a young gay man who sings in the church choir, he does seek counsel from the Reverend (Sundiata Rush, giving the show’s strongest performance).
Other parishioners include the wise and aged Mama Gwen (Sharan Mansfield), the long-standing pillar of the congregation, a “prophetic deaconess” who occasionally channels spirits and speaks in tongues; Sister Marlowe (Cheryl Booker), a gossiping busybody; and Juanita (Lydia Frempong), the most nondescript of Naman’s characters.
Taking turns narrating different parts of the play to the audience, each of them gets at least one monologue for the purposes of imparting his or her back story. The absence of a singular protagonist, however, gradually spreads our attention and focus too thin. Hardy’s cast isn’t bad by any means, but a more experienced ensemble might have made a greater impact.
By a similar token, so might have a more pronounced stylistic touch. Essential has never been known for its lavish design values, and “Zion” could be the group’s most economical and minimalist production yet.
On opposite sides of the space are a pulpit and a rocking chair. Otherwise, actors simply carry folding chairs on and off to set this or that scene. The result feels as much like a staged reading as a fully scaled show.
Hardy’s intentions are as admirable as ever, but Essential’s “Zion” is a lesser effort.
