Courtesy of The Black Rep
I am a Christmas dork. Lest you mistake that statement for a deep revelation of a long-hidden personal truth, allow me to mention that my automobile currently sports a pair of antlers and a red nose. My holiday dorkdom is news to no one. Now, the past few years, I have worked in a retail environment, where my near constant post-Thanksgiving immersion in piped-in yuletide tuneage has soured me somewhat on the musical side of this most wonderful time of the year. Pro that I am, however I was more than willing to put personal bias aside for the opportunity to take in the Black Rep's Christmas celebratory offering, Black Nativity, which wraps up its run this weekend. Then, a miracle: somehow, no one in my workplace has seen fit to dial in one of the many holiday themed channels provided by our canned music system. Yes, to my delight I have been spared early burnout on seasonal songs, making me a ready receiver for this show—and it's a goody.
Black Nativity is a revue in song and dance, blending holiday classics and old favorites with some original writing. Act I presents the familiar story of the nativity of the Christ child, while the second half feels more like a classic nightclub show, with soloists taking a bit more focus; songs secular and sacred are blended throughout. Arrangements and original compositions, chiefly by Diane White-Clayton, are a mélange of jazz, R&B, hip-hop, pop and classical styles, and a similarly broad range of styles are on display in the choreography of Alicia Gbaho. The talent on display is simply staggering. With an ensemble of over twenty vocalists and dancers, it would be a fool's errand to bother critiquing song-by-song (some or all of more than 40 numbers), performer-by-performer, which regular readers know I am wont to eschew any-old-how! The magic here really lies in Ron Himes's use of every tool in his shed to keep things rolling, bringing freshness to old standards while bringing forward the original material in a way that feels immediately familiar. Especially notable to me is how much humor is on offe—from wry, winking chuckles (did I detect some “loo-loo-loo” singing à la the Charlie Brown gang?) to out and out belly laughs, this is a decidedly joyous celebration of the season. Be ready to fall out with laughter when the sheep get going—not saying more than that.
Not to play favorites, but I would be remiss not to mention three performers who are with us from the Alpha to the Omega of this production: Dominique Milan (spelling mistake in her bio credit?), and sisters Alexis White and Tyler White. I was pleased to see the latter two, as they received high marks in this column for their work in Mustard Seed Theatre's production of Lynn Nottage's Crumbs From the Table of Joy, one of the first shows I got to review for Look/Listen. All three acquit themselves splendidly, as they are onstage for the bulk of the evening, and serve up some of the show's best comedy bits; quite fine singers and dancers, too.
Being a sappy sucker for the trappings of Christmas is by no means the price of admission here. The variety of talent applied to this program could be applied to an explanation of the history of kickball and make for an appealing evening. It helps, of course, that they are relaying the fundamental narrative of Christendom, and employing humor, exuberant dance and some fresh approaches to classic favorite music along the way. Who knows, after the show you may find yourself attaching antlers and a nose to your own car. I'll flash my brights when I see you on the road.
Black Nativity runs through Sunday, December 18. Performances are at 8 p.m. Friday, Saturday and Sunday, as well as 7 p.m. Sunday, and take place at the Grandel Square Theatre, 3610 Grandel Square. For more information, call 314-534-3807 or go to theblackrep.org.
