Black Nativity

When I reviewed Black Nativity two years ago, it seemed to be headed for the annual holiday celebration it has become for the Westcoast Black Theater Troupe. As such, I declined to review it again last year. But publicist Eva Slane assured me that the production is constantly evolving, so I decided to re-review. Since WBTT's remove to the gilded Historic Asolo Theater, Langston Hughes' self-described "Lyrical Poem" is indeed at a different stage, both physically and artistically, than when presented at the warehouse-like Backlot. It's brighter and more sophisticated, relying less on extravagant, colorful costumes—though they're still a force.

A major strength this year comes from Derek Jefferson, an actor with a resounding voice and, as Narrator of the Nativity story, great skill at oral interpretation. When he becomes a minister in the second-act Revival ceremony, Jefferson sermonizes as if inspired. His speaking talent is matched in the vocal music area by the handsome Chadwick, of magnetic personality. Could anyone proclaim "A Mighty Day" more mightily?

As the Angel of the Annunciation to commentator on the Holy Birth to a member of the Revival, actress Tsadok Porter also heads a parade of fine female soloists.

There's humor, mainly in the gossipy ladies of old and new, and youthful enthusiasm about the Gospel stories, as exemplified by "Tell Again The Christmas Story," urged by Santoy Campbell and Youth Ensemble.

With the full Ensemble on a well lighted stage throughout, the production eliminates awkward scenic and vocal transitions. Like an "amen chorus," they help substantiate Nate Jacobs' directorial emphasis on joy.