Though Mahalia Jackson is hailed as the Queen of Gospel Music, Nate Jacobs centers her in a parade of outstanding gospel creators and performers. The theme of the show is a history of African Americans’ struggles throughout history, especially American, to be free and equal and recognized for their contributions. A narrator makes clear the role of gospel music accompanying the struggles of African Americans and what they have won in the musical and wider world. Elaine Mayo debuts impressively as Mother Brown and in an Ensemble gathered in Church in Act I and at a church Picnic in Act II. Her co-starring ladies include powerful Ariel Blue and Tarra Conner Jones who act as rivals hitting the highest notes. Neyce Pierre may be a bit more restrained but delivers a potent sound, nevertheless. Victoria Byrd sweetly and Topaz Von Wood decidedly professionally mainly contribute dancing reinforced by youthful flair. The two male stars are Brian L. Boyd as Narrator and WBTT favorite Earley Dean as Preacher. Both display wonderful oratorical styles but also join in the rambunctious dances. The exciting work on those comes via high stepping and leaping by Joshua Thompson, Derric Gobourne Jr., and Jeffrey Casson Jr. It’s just short of amazing how much choreographer Donal Frison accomplishes even with dances set in pews! Traditional music includes “I’ve Been Buked,” “Trouble of the World,” “Travelin Shoes” and “Let Me Ride” from a group less familiar outside the culture. More familiar traditional songs are “Swing Low, Sweet Chariot,” “Down by the Riverside,” and “When the Saints Go Marching In” among others. Composed music by such creators as M. Jackson, T. A. Dorsey, E. Hawkins, and W. H. Brewster dominates Act II. This part of the show also highlights songs by popular singers like Aretha Franklin and Sam Cooke who got their start with gospel. “His Eye is on the Sparrow” by C. D. Martin and C. Gabriel is synonymous with Ethel Waters (and sung beautifully by Neyce Pierre). “How I Got Over” by C. Ward suggested the revue title. (It doesn’t have its slang meaning.) It occurs in an “Oh Happy Day” at the performers’ picnic with everyone singing and dancing up a jubilation! In a fun and appropriate manner, the fine offstage band is acknowledged by a filmed clip on the side of the barn. This typifies the revue’s balanced mix of historical and musical presentation in a holistic entertaining manner.
