‘Black Nativity' reflects community, restores soul

From north to south, Atlanta theaters are putting up Christmas shows that reflect the community’s diversity. Marietta’s Theatre in the Square has “A Tuna Christmas” and the po-dunk Sanders Family. And Kenny Leon’s True Colors Theatre has its updated version of Langston Hughes’ “Black Nativity,” which juxtaposes an African-flavored telling of the Bethlehem tale with a Christmas service in a modern-day church.

As re-imagined by choreographer/director Patdro Harris and music director JMichael, True Colors’ “Black Nativity” picked up three 2009 Suzi Bass Awards for excellence in local theater and has just been re- installed at Southwest Arts Center for a run through Dec. 27.

Harris’ métier is dance, and it’s delightful to see how the rhythms of Africa are brought home to ecstatic effect between the pews of The Light Church (TLC), where the congregation has turned out for a Christmas-morning praise celebration. The church-goers are done up in finery worthy of kings and queens -- and, thanks to Deacon Whitehead’s outrageous socks, the occasional clown.

Michael’s wonderful score is anchored in traditional gospels and spirituals, but you may hear a bit of James Taylor’s “You’ve Got a Friend” mixed in with the requisite “Oh, Come All Ye Faithful” and “Go Tell It on the Mountain.” Hughes’ world was Harlem, but here we have every reason to believe that the view outside the stain-glass windows of The Light Church looks very much like the shopping malls and fast lanes of Cascade and Peachtree roads.

“Black Nativity” is at its essence a church pageant, and because of that, you will forgive this production’s occasional lack of focus and finesse; it sometimes feels more like a really good community theater production than a top-flight professional endeavor. At 2 hours, 20 minutes (including intermission), the piece rambles a bit, and the choreography could be tighter.

But for every fey dance move, there’s a powerhouse voice (Tim Stylez, Andrea Gooden) and a terrific comedic actor (Kevin O’Hara as Deacon Whitehead, Cynthia Barker as the prissy Viola D’Calhoun). And no expense has been spared on Shilla Benning’s Suzi Award-winning costumes, everything from African batiks and turbans to sherbet-colored men’s suits and snow-white angelic gossamer.

Juel Lane and Kelley Young are technically polished dancers who make for a dazzling Joseph and Mary. In this dance-loving congregation, it doesn’t seem to matter that Mary’s skirt flies up to reveal her underwear. O’Hara’s outbursts and prostrations as the church’s over- sanctified senior worshipper are hysterical, as are Barker’s dismissive, queen-bee mannerisms. As the Griot, David Cote is not the most effective narrator but eventually finds his way as Rev. Percy Patterson III.

“Black Nativity” examines lives that are rich in material trappings but emotionally void. When the runny-nosed homeless stranger (Barbara Grant) stumbles in to the service, she is all but ignored by this church that hypocritically claims “TLC” as its motto. Standing to give her testimonial, she says that she once had a college degree, a BMW, credit cards – and yet she had nothing. This message is as moving and revelatory to the church members as the Three Magi were to Mary and Joseph. Even Viola must put down her dainty red lace and embrace the mysterious, tattered visitor.

Such spontaneous acts of kindness are good for the soul and don’t cost a penny. Without love, we are noisy gongs and clanging cymbals, twinkling lights and empty packages. Rich in mirth and music, “Black Nativity” restores the humanity to the meaning of Christmas.

Theater review

“Black Nativity”

Grade: B-