THEATER REVIEWS : Yule Story Told in Song Is Stunning : Gospel singing is heart of San Diego production of Langston Hughes’ brilliant ‘Black Nativity.’

During Act II of Southeast Community Theatre’s “Black Nativity,” cast member Yolanda Kelker lets loose with a splendid exaltation: “This (church) may be leaking,” she shouts, “but--Hallelujah!--it’s still standing!”

Kelker’s celebratory emotional outburst captures the essence of Langston Hughes’ gospel musical. So, too, does Southeast Community Theatre’s production. “Black Nativity,” directed by Floyd Gaffney, is a heartfelt, visceral and stunningly simple celebration of the Christmas story.

Gospel singing is at the heart of this presentation. An 11-person cast consisting of local choir veterans sings more than two dozen Christmas carols and gospel hymns during the two-hour show. Hughes utilizes very little spoken dialogue in telling this Nativity tale. Instead, the story is rendered in song.

The structure provides very little intriguing dramatic intercourse, but it does give the vocalists plenty of opportunity to be heard. Gaffney directed the production to the strengths of his cast. Most of the performers lack theatrical experience, but none lack in the lungs department.

“We’re going to take a trip back in time, all the way back to the first Christmas,” narrator-minister Joel Brisker says at the start of the play. Just then, the rest of the cast walks on stage in traditional robes and sandals and begins to act out the story of Jesus Christ’s birth.

As Mary (LaGayle Gillespie) and Joseph (Donald Blevins) trek toward Bethlehem, Berrel Matthews belts out a soulful rendition of “My Way’s Cloudy,” a gospel hymn about difficult travels. In similar fashion, Kelker sings “Most Done Traveling” as Joseph and Mary arrive in town, and the entire ensemble croons “No Room” as the couple struggles to find accommodations for the evening. This loose-fitting musical narration continues throughout Act I, culminating with the birth of Jesus and a rousing “Sevenfold Amen.”

All pretense of drama is dropped in Act II, as the scene switches from ancient Jerusalem to a contemporary church.

In the modern-day setting, the ensemble forgets about characterization--the actors simply stand and sing.

Because the music is so consistently moving, the dearth of conflict and dialogue is certainly forgivable. Highlights include a primal drumbeat-driven “Oh, Jerusalem in the Morning,” Felicia Singleton-Daniel’s explosive “Go Tell It on the Mountain,” and Deborah Terrell-McClelland’s inspired “We Shall Behold Him.”

Carol Durgan’s dynamic musical arrangements give the production a sense of variation, counteracting the fact that some of the gospel tunes sound alike. For instance, “That’s When He Blessed Me” is fueled by a Whitney Houston-style contemporary arrangement and “Hallelujah, Salvation and Glory” emanates behind a staccato rhythm. On the negative side, Durgan’s loud, four-piece band drowned out the vocals on several occasions.

Dance numbers accompany a few of the gospel songs, but Donald Robinson’s stiff choreography pales in comparison to the emotionally driven singing. The routines are fairly mundane, consisting of repeated pirouettes, leaps and splits. The two soloists, Patchica McCoy and Xavier Hicks, struggled with Robinson’s simple routines, dancing hesitantly throughout the show.

Rockne Ragsdale’s lighting design is evocative and potent, but suffers from one major technical flaw: the stage was too dark. Dim lights may help set the mood for a somber scene or a gentle hymn, but illuminating the performers is still the lighting designer’s first responsibility.

John Redmon’s scenic design conveys an appropriate church hall setting without intruding on the singing, and Bonnie Ward’s bold, bright costumes--her dynamic red and gold choir outfits, in particular--embellish this show’s joyous spirit.

‘Black Nativity’

By Langston Hughes. Director, Floyd Gaffney. Musical director, Carol Durgan. Choreography, Donald Robinson. Sets, John Redmon. Lights, Rockne Ragsdale. Costumes, Bonnie Ward. Stage manager, Wendall J. Lucas. With Donald Blevins, Joel Brisker, LaGayle Gillespie, Xavier Hicks, Roderic Jackson, Yolanda Kelker, Patricia King, Felicia Kinney, Berrel Matthews, Patchica McCoy, Rickie Lorenzo Omowale, Felicia Singleton-Daniel, Robert Taylor Jr., Morris White. At 8 p.m. Fridays-Saturdays, 7 p.m. Sundays, through Dec. 22. At the Educational Cultural Complex Theatre, 4343 Ocean View Blvd., San Diego. Tickets $4-$10. (619) 262-2817