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True Colors’ ‘Rejoice!’ at the NBAF
The Atlanta Journal-Constitution
THEATER REVIEW. Through July 30. Grade: B -
In 1928, Thomas A. Dorsey wrote a sensual honky-tonk hit that would bite him in the behind for the rest of his life. “Tight Like That� was the favorite ammuntion of the buttoned-up church brethren who claimed the Georgia-born father of gospel was too lewd for the Lord.
Imagine how the cantankerous gospel patriarch at the center of Cheryl L. West’s “Rejoice!� responds when his offspring come up with the hip-hop-flavored “Me and My God Got It Tight Like That.� For using the urban lingo and sexy dance steps of their time, the young upstarts are accused of the same kind of heresy that plagued Dorsey. Eventually, the old-school faction ends up performing at gospel buffets, and the contemporary offshoot, Hip, Hop & Shout, gets a Grammy nomination.
West’s world premiere — produced by True Colors Theatre as part of the National Black Arts Festival — is a rousing response to a hot topic in the African-American community. Directed by Kenny Leon and featuring a divinely inspired ensemble of singers, actors, dancers and choristers, “Rejoice!� is a cross-generational, cross-cultural crowd-pleaser that is certain to be a major hit for the NBAF.
As a toe-tapping, hand-clapping, rafter-shaking tribute to the music of Dorsey, the show is virtually irresistible. But as a literary exercise, it comes across as flimsy, melodramatic and emotionally slender — a three-hour epic that introduces at least nine major characters and rides on a plot that’s as creaky as the gospel family’s tour bus.
You really need a family tree to keep track with Marchin’ Mississippi Macon (Hassan El-Amin) and his entourage of sons, daughters, in-laws, partisans, etc. West’s characters are often stock creations: a spinster daughter (Hannah, played by Roz White Gonsalves); a player son (Matthew Johnson as Junior); a wisecracking daughter-in-law who undergoes an 11th-hour conversion (Shaunyce Omar as Candy); and a beloved wife who doubles as a referee (Chandra Currelly as Zee). The piece is also cluttered by two backup trios, the Cuties and the Aunties.
Perhaps the biggest surprise is the arrival of Coot D’Crow (Eric Ankrim), a backwoods eccentric from Tennessee who longs to fit in to the group and takes a shine to Sarah (Julie Dickens), the apple of Daddy Macon’s eye. While there’s some charming business including a bottle of hot sauce, Coot’s redneck-meets-hip-hop mannerisms and the general sassiness of the female contingent (particularly Omar’s Candy, God love her), there are so many personalities competing for air time that it’s nearly impossible to sketch detailed character studies.
Thankfully, the top-notch cast makes up for the dramaturgical lapses with wonderfully expressive performances and fantastic vocals. Ankrim and Currelly are insistent muggers but adorable nonetheless. El-Amin and Dickens are quite good. Gonsalves, Johnson and Omar are excellent.
When all is said and done, “Rejoice!� would be nothing without its backbone of dance and music.
While choreographer Patdro Harris imbues the massive ensemble with esprit de corps and kicky, comedic touches, the superstar of this entire effort is J. Michael, who arranged Dorsey’s work, conducts the five-man band, leads the 25-member choir and wrote the contemporary numbers “Let God Do the Do,� “Me and My God Got It Tight Like That� and “Rejoice!� — which closes the show. (Lyrics are by West.)
Well-intentioned and likable, “Rejoice!� has a long way to go in the story department. But the music is beyond reproach. Considering that all tickets are $15, you’d be a scamp to miss it.
THE 411: 8 p.m. Tuesdays-Saturdays. 2:30 p.m. Saturdays-Sundays. 1 p.m. July 26 only. Through July 30. $15. True Colors Theatre, Alliance Theatre, Woodruff Arts Center, 1280 Peachtree St. N.E., Midtown. 404-733-5000; truecolorstheatrecompany.com
THE VERDICT: Joyful sounds, so-so story.
Comments
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By Cielle
July 18, 2006 2:49 PM | Link to this
Say whatchu wanna, Brock, but it ain’t “Chitlin’ Circuit” material, so they get an A- from me.
African-American theatre has long thrived on the lackluster, overworked themes of Chitlin’ Circuit productions, so it was immensely refreshing for me to watch the cast of “Rejoice” perform an inspiring - and highly relevant - story line. This wasn’t your “Good Man is Hard to Find” no-plot-having production. I didn’t detect a production full of filler lines, empty motives and useless actions. True enough, the story was not the strongest I’ve seen, but for the love of God, there WAS a story! A plot. (Quite an enjoyable one, for me.) A through-line. To which the dialogue and music tied into very well. A climax. And, for all my fellow dramatists, a denouement. And those are the basics of a well-made play.
Yes, the characters are numerous. They vie for attention and validation, but this is a major part of the story itself. Thr critics “emotionally slender” interpretation could probably be translated as “inability to relate.” Having studied drama, it’s hard for me to watch JUST a play. When opportunity presents itself, I get a glimpse at the audience and how they’re reacting. What moves them and how it moves them. (The ones in front of me, that is. I don’t go rubber-necking for what’s behind me. :-) I sat there Saturday and watched people - black and white - removing their glasses and wiping their tears. I was, admittedly, almost moved to tears myself during their singing of what is probably Dorsey’s most famous number, “Precious Lord, Take My Hand.”
The play will be a whole different experience for you if you can relate. If Marching Mississippi Macon and his family could just as easily be YOUR family. If you’re an artist who’s also a Believer and has to contend with what is “acceptable” in the sight of God and what isn’t.
Furthermore, the sole white character in the whole play, Coot D’Crow, played a highly comedic role that I felt like was significant value-added to the story. Initially, I was bothered by what I thought was a character (i.e. white character) who would “redeem”, “enlighten” and “liberate” this squabbling family from their infighting. But in the end, Koot received as much from this African-American family as he contributed to them. And oh, my God, what a voice! Amazing falsetto this fella has!
Truth be told, Leon spares the production no vocal quality. All the way down to the sole child in the production, this cast sings their behinds off! The dancing will move you too!
Just go see it. Particularly if you’re into gospel music or if you’re into hip-hop. My kudos to Cheryl West, Kenny Leon, Patdro Harris and J. Michael for a bang-up job on such an energetic, inspiring and enlightening production.
By Cielle
July 18, 2006 2:52 PM | Link to this
Correction: I meant “it’s hard for me to JUST WATCH a play.”
By Canray
July 20, 2006 1:04 AM | Link to this
Well said, Cielle. My partner and I are volunteers for this year’s NBAF, and we had the tremendous honor of watching last Saturday’s matinee. West has crafted a timely and relevant story around the works of a man whose contributions to gospel music are unquestionably significant. Yet, for allowing himself to express another important aspect of his authentic/artistic and personal self, he was villified.
This is more than old vs. young, or hip hop vs. tradition. It is the divisiveness that is as old as Wille Lynch and older still, that continues to tear away at the fabric of the black community. Children should listen to the wisdom of their elders, and the elders should listen to what the children are saying, not only with their words,but by their actions. I think what Brock has missed is the fact that it was like going to church. I spent time doing some serious soul-searching after seeing that play. Enough said.
Peace