Photo Credit: Jenny Plevin/Black Arts MKE
It is impossible to remain passive while watching Black Arts MKE’s Black Nativity—the actors are overflowing with passion and energy, and some of it inevitably spills onto the audience. This annual retelling of the Bible’s account of the birth of Jesus Christ—through the prism of African American culture and by black actors, based on Langston Hughes’ 1961 song play—is not aimed specifically at religious persons.
It touches on themes of hope, happiness, community and social justice, and top-notch singing and dancing make it, quite simply, a deeply enjoyable experience. Also, thanks to student matinées aimed at school children, Black Nativity is many a Milwaukee kid’s introduction to live theater, and what an introduction!
The show’s visuals are the first introduction to its modernized Bethlehem, where inner-city-like grey walls are infused with life through graffiti, splashes of color and life that are also reflected in the costumes; the actors wear a motley assortment of fabrics and vibrant colors—a blend of styles that are impossible to pinpoint, but a drape depicting Africa reveals the source of costume designer Beverly Echols’ vision.
Soon, the actors start performing the first musical number, and it becomes evident that Black Nativity doesn’t shine through its acting or story, but through its music. Music director Antoine Reynolds devised a fascinating hybrid mixing Christmas classics like “Joy to the World” with modern tunes, pulling inspiration for centuries of black traditions and music dating back to pre-colonization Africa and including gospel and hip hop to the beat of percussions. And boy, these people can sing and move. Each number seems to have been devised with only one objective in mind: fun! The performers are not ashamed to give it their all, flooding the stage with energy, and it is obvious they are all enjoying themselves—and it is contagious.
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“Joy to the World” might be the best example of what Black Nativity offers: The well-known tune quickly turns into a refrain composed solely of the word “joy,” which conveys that precise emotion as the audience is invited to clap and sing along. The cheerfulness spreads like wildfire through the crowd, now standing and playing along, culminating in an unbridled “joy” chant, mixing the voices of actors and spectators, exploding skyward.
When the public isn’t participating, the sheer vocal talent of some performers carries the whole show; in particular, the shivers-inducing “Rise Up, Shepherd, and Follow,” by Cynthia Cobb, as well as the powerful voice of Brian D. Crawford, who builds upon his experience as a minister and worship leader. Brielle Richmond and Joey Jackson-Streeter as Mary and Joseph offer competent performances, while surprisingly not being the central roles. Highlights include Tasha McCoy, who radiates warmth and emotion, as well as the Singh Ponder brothers: Two young kids who bring a feeling of family to the stage. And this is what Black Nativity feels like: A large, fun, family gathering where each person complements an ensemble, and everyone has something to offer.
Through Dec. 16 at the Marcus Center for the Performing Arts’ Wilson Theater at Vogel Hall, 929 N. Water St.
