Celebrate the Holiday Season with a Shout, Stomp and Clap at ‘Black Nativity’

Black Nativity, the annual Christmas performance written by Langston Hughes, is celebrating its 50^th anniversary. And what a celebration it is.  Led by the spirited Pastor Patrinell Wright, The Total Experience Gospel Choir revamps traditional holiday songs in a riveting performance that will have you dancing in your seat. Or at the very least, tapping a toe or two. The first Act tells the nativity story, and the second Act replicates a church service, but the talent of the performers transcends any kind of religious message, filling the Moore with infectious holiday joy.

As to be expected, the music holds down the night. The interracial, intergenerational choir shines, both in chorus, and as individual members step up for solos. Starting out dressed in traditional African dresses, dashikis and head wraps (costuming by Doris Black), they break the barrier between performers and spectators by spreading along the aisles, encouraging the house to clap and sing along, and occasionally shaking hands with members of the audience. They don’t take themselves too seriously, clapping and dancing in the risers and smiling and waving to one another as they belt out traditional numbers such as “Joy to the World” and “Mary Did You Know.” Several musical standouts include the sassy Josephine Howell, Pastor Wright and soprano Gena Brooks.

Adding visual interest to the program is the dance component, choreographed by Donald Byrd and reconstructed by Amber Nicole Mayberry, who also performed as Mary. Abstract, quick-paced modern movement kept pace with the gospel choir, and all the dancers had strong technical skill. Traditional African elements such as clapping, stomping punctuated the singing, adding a layer of definition rather than distracting. Mayberry shined as Mary, registering strong emotion and showing off her strength and flexibility, as well as executing swift footwork with seeming ease.

The second Act transitions from the nativity story to the guise of a church service, with the chorus in black choir robes. But the subdued costuming doesn’t mean a tampered down performance. In fact, if the first Act was energizing, the second one reaches almost riotous emotional levels, with an acceleration of clapping, stomping and dancing, and singing that reaches rock concert volume. In order to encourage the idea of a non-dominational setting, Pastor Wright took time to call out a long list of denominations, encouraging audience members to stand up when theirs was called. By the end of the list the entire house was standing, clapping and cheering together.

Langston Hughes wrote the narration of the first Act, but his work is also represented in Act II. Pastor Wright and Reverent Alphonso H. Meadows Jr. read excerpts from several of Hughes’ poems, including “Color.” Embracing Hughes’ strong African American pride, Meadows reminds those gathered, that the nativity portion was,  “the story of the birth of Christ through the eyes of black people.”

Early in Act II, Pastor Wright teases the audience, saying, “I know you thought you were going to a nice, quiet evening at the theatre,” after the first half of the show proves to be anything but quiet. And that’s part of evening’s appeal. Far from a traditional church Christmas pageant, Black Nativity is a foot-tapping, hip-shaking feel-good holiday performance, and the perfect show to brighten up even the darkest December days. 

Black Nativity runs through December 24 at The Moore. Tickets here.