‘A Gospel Black Nativity’ @ Jubilee Theatre Company

—Jan Farrington

Children, go where I send thee
How shall I send thee?

I'm gonna send you one by one
One for the little bitty baby
Born of the virgin Mary
Born, born, born in Bethlehem….

In 1961, late in a career that began in the 1920s, the poet and writer Langston Hughes published a slim play called Black Nativity—a re-telling of the Christmas story from within the African American culture and traditions.

At Jubilee Theatre this season, artistic director D. Wambui Richardson’s adaptation and direction of Hughes’ play springs with life and joy. The joy is there even in as the story tells the struggles of the Israelites at the time of the Nativity, and moves into the painful years of American history when enslaved Africans folded the Bible stories into their own spiritual traditions. And by the last scenes we come into the celebrations of Hughes’ own youth in the Black churches of the early 20th century.

Hughes’ script is always the starting line for the many productions of Black Nativity (Hughes called it a “gospel-song play”) that have become a new tradition over the past decades—but both dialogue and song are, at times, much changed. About the Jubilee production, director Richardson writes that “97% of the [Hughes] script was kept intact” along with its griot-style storytelling.

Many of the songs included in the original remain; Richardson notes that “in a few instances, we went with the more modern versions of the songs or a more relevant choice. ‘Wasn’t that a Mighty Day’ was changed to ‘Silent Night;’ ‘Go! Tell It on the Mountain’ was changed to  ‘Go Where I Send Thee,’ and  ‘Oh, Come all ye Faithful’ was changed to ‘Total Praise.’”  The mix of gospel, carols, spirituals and more should—and does—feel just right for this audience, in this place and time.

The ensemble cast, full of fine actors and strong voices, keep things moving fluidly from age to age, person to person, song to song in this 75-minute show (played without intermission, because why would you stop?). Crystal Williams and Kris Black Jasper are anchoring solo voices, with Kayla Marshall chiming in strongly. Marande L. Barris makes a vulnerable but strong-hearted Mary, and Octavian Lewis (a sweet singer) is a caring and tender Joseph.

Sydney Hewitt begins as a hope-bringing angel among the hard-luck Israelites, and slowly (scene by scene) blends into the human crowd of each era—though she’s remarkably watchable throughout. And three “guys” (Dameron Growe, Rickie Jones, and Kyle Spears—not last or least at all) play shepherds and Wise Men, and swing a softly harmonized “Silent Night” that makes us smile. And when everyone sings together…that’s just fine. The ensemble got folks swaying in their seats on opening night—and plenty of us clapping and raising hands.

Hope Cox’s shifting, brilliantly colored costumes speed us on the journey, from the Eastern draped clothes of the Bethlehem story to the head wraps and patchwork patterns of slave days—and it only takes a quick overlay of bright hats and shawls to bring us into the sanctuary for a church “sing” closer to our own day. The strong, vital choreography from cast member Kayla Marshall hits a very sweet spot between traditional dance and modern moves.

Three musicians play live (and lively) just offstage: pianist Donarius Mims (who did some composing for the show, plus the musical arrangements), Chuck Hill on bass, and Marquis James on drums. Go early to see if there’s music playing in Sundance Square (on opening night, I heard an Irish reel and a country-western Christmas carol from a great little band), and then walk a half-block to Jubilee for the show.

“A Black Gospel Nativity aims to celebrate family, community, and togetherness, all while sending love into a world that desperately needs it,” writes Richardson. “[And] like St. Nicholas Day, the Feast of the Immaculate Conception Day, Bodhi Day, the Feast of Our Lady of Guadalupe, Hanukkah, Yule, Kwanza, and Christmas, there is room for us all in December.”

WHEN: November 24-December 23, 2023
WHERE: Jubilee Theatre, 506 Main Street, Fort Worth
WEB: jubileetheatre.org