Review: HYMN at Chicago Shakespeare Theater

A good hymn can be a paradoxical work of art. A funeral dirge standing defiant in the face of death. A somber prayer of thanksgiving that acknowledges a perpetual state of unworthiness. A celebration of faith that connects multitudes even if only sung by a single supplicant. In other words, the hymns that shape so many of our lives and cultures are complex works that continue to haunt us even if we no longer consider ourselves religious or even particularly very spiritual. And while Chicago Shakespeare Theater’s all-Chicago production of Lolita Chakrabarti’s drama HYMN is beautifully performed by two actors of tremendous talent, the script never quite delivers on the thematic complexity promised by the play’s premise and opening scenes. The production runs through May 25 at CST’s Courtyard Theater.

Under the direction of the legendary Ron OJ Parson, HYMN opens with Gil (James Vincent Meredith) delivering a eulogy at his father’s funeral, but the proceedings are soon interrupted by the appearance of Benny (Chiké Johnson), who claims to be Gil’s half-brother born out of wedlock. Once the familial connection is confirmed, Gil and Benny begin making up for lost time, sharing childhood stories and connecting over their favorite songs and misguided youthful fashion choices.

This summary is a sketch of what could be a powerful meditation on the nature of brotherhood, the importance of connection, and what family members owe to each other—if anything at all. But as a drama, HYMN never quite lives up to its full potential. The initial conflicts (Is Benny lying? Will Gil accept this stranger as his brother?) are swiftly resolved in the first third of the play. Which means there isn’t much momentum left over to carry the story forward in between fleeting conversations about socioeconomic privilege, the resilience of Black creativity, and the misplaced self-righteousness of “kids these days.”

This is through no fault of Parson or his actors. They all harness the emotions and uncertainties of these characters without resorting to histrionics or melodrama, and Meredith and Johnson have developed a powerful chemistry that makes any blood relation between the two characters feel completely beside the point. As Gil, Meredith is the older and more mature of the two men, and he moves through Rasean Davonté Johnson’s beautiful, chapel-like set with confidence and poise. But he also develops a delightful sense of fun and youthfulness as Gil finally connects with the younger brother he never knew he had. Chiké Johnson’s Benny makes for a nice foil as the less well-off, more guarded, even more cynical of the two men whose tough exterior softens and falls away as he’s rejuvenated by newfound familial connections.

But as delightful as it is to watch these characters interact and learn from one another, the lack of any sustained conflict causes the play’s middle sections to sag, and the show becomes more focused on entertaining audiences with the greatest hip-hop hits of the 80s and 90s as Gil and Benny prepare for a night out on the town. These scenes feel like the lowest common denominator of entertainment, relying on pop culture and nostalgia rather than meaningful character or dramatic development. So audiences could be forgiven if they arrive at the play’s climax with a sense of whiplash and disorientation. Plot threads laid out in earlier scenes remain not only loose but nearly forgotten. By the time a new conflict is introduced to close out the script, it’s too late to regain our attention and investment, and the characters’ fates feel underdeveloped and emotionally empty. 

No matter how expertly performed, HYMN lands like an accumulation of unresolved chords.

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