REVIEW: The Black Rep Brings a Joyous Production of Langston Hughes' BLACK NATIVITY to the Grandel Stage

There are a multitude of options available to anyone looking to take in a holiday-themed show this time of year. If you're so inclined, I heartily recommend the Black Rep's joyous production of Langston Hughes' Black Nativity. This is an uplifting and affirming celebration that features a terrific and talented ensemble.

The first act features a reenactment of the birth of the baby Jesus, with Joseph and Mary searching for, but not finding, any room at the inn. A colorful combination of song and dance is used to tell this famous story, and it's an engaging presentation that showcases the exceptional choreography of Keith Tyrone, as Joseph and Mary are "shadowed" by a pair of dancers (Heather Beal and Iyun Harrison) that interpret the story through movement.

The second act brings the action into the near present, with the stage reworked to resemble a church, complete with pulpit and choirs. A Christmas program is taking place, and we're witness to all the energy and conviviality that that generates. It's a marvelous concept, and you'd be hard pressed to not get caught up in the infectiously enthusiastic mood that's created.

A great cast brings this play to life, and I'm reluctant to single out any specific individuals since this is truly an ensemble piece. Kevin Bailey, Heather Beal, Tatyana Bell, Mesha Brown, Ma'ri Byrd, Annetta Flowers, Chuck Flowers, Herman Gordon, Tre'von Griffith, Iyun Harrison, Crystal Holliway, Karen Hylton, Leslie Johnson, Nakischa Joseph, Jennifer Kelley, Joel King, Dominique Milam, Janessa Morgan, Brian Owens, John Reed II, Leah Stewart, Alexis White, and Tyler White comprise the group performing this material, and they are all uniformly excellent.

Director Ron Himes has crafted a wonderful staging of this material, tempering the seriousness of the subject matter with a keen sense of humor that can't help but bring a smile to your face. He's greatly aided by Diane White-Clayton's superb musical direction, as well as her work arranging and composing songs for the show. Brian Purlee's multi-level scenic design allows for a smooth transition between the two distinctly different acts. John Wiley's lighting adds the necessary atmosphere and illumination, and Reggie Ray's costumes are a visual delight. Keith Fowler (drums), Kyle Kelley (piano), Art Moore (percussion), and William Rainer (bass) provide excellent accompaniment.

Black Nativity is filled with glorious musical numbers, and the highlights are almost too innumerable to mention. But, my favorite is "Late-Night Shepherd's Blues" with its amusing complement of bleating sheep. The first act is brought to a rousing close with the rhythmic "Clap Praise", which really seemed to invigorate the audience. A high point of the second act is a reworking of Handel's "Hallelujah!", and I really enjoyed the men singing "Last Month of the Year".

Black Nativity is a stunning achievement that will linger in your mind long after the final number finishes. The Black Rep's production continues through December 27, 2009 at the Grandel Theatre.

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