On December 12, 1961 the day after "Black Nativity," a holiday gospel song/play by Langston Hughes, debuted in New York at the 41st Street Theatre, the reviews were not terribly flattering. The New York Times called the choreography "amateurish" and the singing -- the only high point of the show -- "not always art."
Almost 50 years later, audiences, if not reviewers, have come to realize, that was exactly the point. "Black Nativity," has always been about the singing and Atlantans who have flocked to various productions year after year know just what to expect.
Wednesday, Southwest Arts Center presents "Black Nativity" through the eyes of Kenny Leon's True Colors Theatre Company. Patdro Harris directs and choreographs the production for a second year, while JMichael serves as musical director. As have most directors over the years, Harris adds his own adaptation to the show.
But first, a bit of history for the uninitiated. The original "Black Nativity," is a two-part production in which Hughes charts the story of the birth of Christ. Part one is set in ancient times tracking Mary and Joseph's plight, while the second half is set in a present day gospel church on Christmas morning. The understanding is that across thousands of years, the celebration of Christ's birth continues. A griot (who in modern times becomes the church's preacher) guides the audience through transitions from scene to scene and song to song.
The bones of any production of "Black Nativity" tend to stay the same, but the songs change, the dances are updated and the performers always bring fresh voices. Of course, in Atlanta's theater circles, some faces may seem familiar. Harris played the role of Joseph with Just Us Theatre company where "Black Nativity" was a holiday staple through the '70s and '80s. In the '90s Jomandi Productions resurrected the show with Harris as choreographer.
With Harris now at the helm as director, the heart of the production is contained in an acronym he recites to the cast of 24 mostly local actors during a recent rehearsal. "P.H.D," says Harris, "Purpose, honesty and detail." These three words also governed the changes he made to the script. The addition of Swahili and Yoruba languages in the first half along with a character from College Park in the second half, help bring freshness to the show and familiarity to Atlanta audiences, he said.
"I love the production," Harris said. "It is the oldest production I've been affiliated with in my artistic life." Harris' performances in the past even inspired several new cast members to join the production. David Koté, the griot/Rev. Percy Patterson III, and Juel D. Lane who plays Joseph, both recall seeing the show each year as a Christmas tradition. "It's an honor to be involved here in Atlanta," said Lane, who returned to the city after years dancing in New York. Koté, who serves as director of theatre arts at Tri-Cities High School where he and Lane were once students, said many of his students try out for the production. This year, the pressure is on. One of his students is also part of the cast. "I have to do everything right like I do in class. I have to follow the rules," Koté said.
But in a production like "Black Nativity," rules -- at least as far as traditional theater goes -- is a relative term. At a recent matinee preview, audiences were quick to respond to vocal performances by ensemble members, JeVonne Wilson, and former TV news reporter, JaQuitta Williams, as well as Barbara Gant. They sang along, they shouted out and they laughed heartily when, Cynthia Barker's portrayal of Viola D'Calhoun and Kevin O'Hara's, Deacon Whitehead, provided comic relief.
"The audience plays a major role in [Black Nativity]. With live theater, the audience is the last component to let us know how we are doing," Harris said.
In Atlanta, by audience vote, "Black Nativity" is doing just fine.
Theatre Preview
Black Nativity
Dec. 9-27. $20-$35
Southwest Arts Center, 915 New Hope Road, Atlanta
877-725-8849. www.truecolorstheatre.org
About the Author
Keep Reading
The Latest
Featured
