Cast of Black Nativity at The Barn DInner Theatre (photo by Michael Logan Hill) .
Most traditional tellings of the birth of Jesus don’t have actors singing “Kumbaya” and dancing joyfully to the beat of an African drum, but such is the case at the Barn Dinner Theatre in their performance of Langston Hughes’ Black Nativity, a nontraditional telling of St. Luke’s story filled with African rhythms, gospel music, dance, poetry and narrative.
The joyful performance directed by Hilda Willis is sure to sweep you into the Christmas spirit with its genius choreography, vibrant costumes, powerful voices and high-energy dancing. In fact, joy is the constant theme throughout the production as actors and audience alike are compelled to yell, raise their hands and dance in their seats.
The storyline actually focuses more on the emotions that surround the nativity story rather than on the story itself. Doing so allows for a more personal and jubilant interpretation. The first act of the musical, though told in an African setting, is devoted to the actual nativity story. It begins with a dozen actors, dressed in colorful traditional African garb, walking as they sing “Kumbaya.” As they enter, they set the scene for an African village; Women enter carrying small baskets on their heads, while others use a broom to sweep their way to the tiny stage.
The African drum then chimes in and “Kumbaya” is replaced with a robust display of African dance. The actors do a superb job expressing the emotions of the story through their bold movements; their exaggerated facial expressions draw the audience into their passionate performance. Morgan Addington’s choreography creatively and effectively makes use of the small space available onstage. By what seems to be a miracle, 12 actors in perfect rhythm are able to swiftly move in between one another without colliding. The actors move each segment of their bodies to the heartbeat of the drum and are able to dance as both individuals and a collective unit.
In between the lively dance sessions, actors take turns narrating the story of Joseph and Virgin Mary. Diatra Langford as Mary is able to belt out a beautiful song and at the same time use her facial expressions and a frail stance to express the pain of childbirth.
Musical director George Pass complements their dance with a seamless intermixing of African rhythms, piano-led gospel songs and poetic prose. Traditional Christmas songs, such as “Joy to the World” and “Come All Ye Faithful,” are sung alongside new songs like “Whatchu Gonna Name That Baby?” and a poetic “No Good Shepherd Boy.” The second act of the play seems to be a different production entirely as it fast-forwards from Bethlehem to 21st century Galilee Baptist Church, stating “The manger is now a church.” The actors re-enter, some dressed in their Sunday best, while others act as the choir in their robes. Again, they capture the audience as soon as they enter singing “I Know I’ve Been Changed” while clapping and dancing.
The entire act resembles a Sunday morning church service, and it wouldn’t be a surprise if an audience member stood up for an altar call. The real beauty in the production lies in the harmonious voices of the actors, who truly bring a gospel choir to life. Actress Ni’Si takes the spotlight in this act as she struts in a bright red dress complete with a church hat that matches her larger-than-life personality. She provides the comedy of the show with her attitude, disapproving glances and feel-good dancing.
Overall, Black Nativity doesn’t express a detailed telling of the nativity story, but instead reemphasizes the true meaning of Christmas. The song lyrics remind us that we should be thankful for what we have, and the music and dancing remind us of the joy we should celebrate this season.
wanna go?
Black Nativity plays every Sunday and Monday of December at The Barn Dinner Theatre, 120 Stage Coach Trail, Greensboro. Tickets are $40-$45 for adults and $20-$23 for children. For tickets and more information call 336.292.2211 or visit www.barndinner.com.
