STAGE REVIEW : Southeast S.D.’s ‘Black Nativity’ Soars on Wings of Musical Talent

A quick scan of the program notes for Langston Hughes’ “Black Nativity” tells the tale of the production. In itemizing their previous credits, eight of the 12 cast members list either the church they belong to, the Gospel choir they sing for, or both. Only one of the performers, Antonio Johnson, lists stage credentials of any note.

So it is not surprising, then, that Southeast Community Theatre’s staging of “Black Nativity” is a wonderful collection of Gospel offerings and somewhat light on the dramatic side. All in all, the show at the Educational Cultural Complex Theatre is great entertainment.

Hughes’ play recounts the birth of Jesus Christ--but from a black perspective with an all-black cast.

Act I tells the story in song, as Joseph and Mary make the long trek to Bethlehem, seek shelter, are turned away and eventually find that famous manger. Act II takes the audience to a modern church, where the cast members, adorned in choir attire, proceed to sing in praise of their savior.

UCSD Professor Floyd Gaffney directed “Black Nativity” to the strengths of his cast in this briskly paced 90-minute show. Hughes’ work is first and foremost a collection of songs, and, true to that intent, Gaffney wastes little time bothering with staging devices between numbers. And, even in the occasional choreographed movements across the stage, some of the performers appeared uncomfortable, but once they hit their spot and belted out a few bars, all was under control.

Gaffney, who has directed the production for the community theater for three consecutive years, understands that the play is Gospel music, and Gospel music is the play.

“Black Nativity” veterans Regina Anderson and Berrel Matthews stand out as the two featured vocalists. Each singer demonstrates the utmost feeling as well as an amazing range of vocal abilities. Anderson’s rendition of the blues-gospel song “I Know It Was the Blood of Jesus” and Matthews’ somber reading of the hymn “Pity and a Shame” both drew loud peals of applause from the less than 30 appreciative audience members Saturday night. Opening night, however, drew more than 200.

Newcomer Betty R. Arbuthnot, a recognized name in local Gospel circles, shines in her stage debut. Her renditions of “Go Tell It on the Mountain” and “Said I Wasn’t Going to Tell Nobody” bristled with energy and passion. More importantly, Arbuthnot’s fearless stage presence enabled her to maintain a constant sense of character throughout the evening, an element sorely lacking in this production.

Antonio Johnson, as the Narrator-Preacher, provided spoken-word leadership and a sturdy, consistent foundation for the tunes in “Black Nativity.” Johnson, who played the Ghost of Christmas Present in the San Diego Repertory’s 1989 version of “A Christmas Carol,” succeeds once again in this Yuletide presentation. His booming cannon of a voice resonates with a musical quality despite the fact that he hardly ever joins in with the singing.

And that’s unfortunate, because the male ensemble’s singing, the weak link in this chain of songs, could have used him. Alone onstage without the transcendent female voices to bolster them, the men failed to do justice to the Christmas classic “Do You Hear What I Hear.” Fortunately, the male chorus appeared alone only once during the entire production, and the five did a credible job backing up the women.

The set, designed by UCSD graduate student Tom Mays, coincides with the rest of the production in its simplicity. The only set pieces are an upstage altar and two choir lofts on each side of the stage. Still, the play warrants such a sparse design. Anything more elaborate would have upstaged the performers.

Costume designers Pamela Stompoly and Eric Flanekin illuminate the stage with their bright, colorful outfits. The design team places an emphasis on striking visual dynamics and on delineating the change of era between the two acts. In Act I, characters wear exotic period costumes with a decidedly African flavor; in Act II, everyone is dressed for church in bright, flowing blue robes.

Another drawback lies in the instrumentation. For whatever reason, director Gaffney elected to have organist Carolyn Cherry, percussionist Weldon E. Cook Sr. and pianist Charles Ray Warren play their instruments off stage. Either that, or the music was entirely prerecorded, one couldn’t be sure which was the case.

This decision resulted in an unnecessarily cold feeling throughout the evening and clashed unpleasantly with the live, lively voices in front of the audience.

Still, for Gospel music fans, the production is a must-see. And, for traditional theater fans seeking something new, “Black Nativity” offers an eminently worthwhile evening.

“BLACK NATIVITY”

By Langston Hughes. Director, Floyd Gaffney. Musical director, Charles Ray Warren. Choreography, Deborah Hedgren. Set and lights, Tom May. Costumes, Pam Stompoly and Eric Flanekin. Stage manager, Audrei-Karien. With Regina Anderson, Betty R. Arbuthnot, George C. Callahan, Tabitha Goodwin, Roderic B. Jackson, Antonio Johnson, Robin A. Logan, Berrel Mathews, Rickie Lorenzo Omowale, Felicia Renee Singleton, Orren Tanabe and Morris White. At 8 p.m Thursday-Saturday, 7 p.m. Sunday. Tickets are $2-10. At the Educational Cultural Complex, 4343 Ocean View Blvd, Southeast San Diego.