*Let the church say Amen. The “Gospel at Colonus” is in town.
Based on the Robert Fitzgerald translation of Sophocles‘ Greek tragedy, “Oedipus at Colonus,” where an exiled King seeks a proper burial place following a complicated past where he killed his father; married (and had four babies with) his mother; then gauged out his own eyes after learning the truth about his ancestry — this production represents a major undertaking for the Ebony Repertory Theatre, where it is being presented through July 19 and welcomes the 30th anniversary of the plays first Los Angeles production.
ERT is the revenue-producing arm of the Nate Holden Performing Arts Center, a stunningly beautiful facility named after the former councilman and located in the mid-city section of Los Angeles. The theatre was founded in 2008 by producer and actor, Wren T. Brown along with Founding Artistic Director, the late Israel Hicks (1943-2010).
ERT is the first professional African American theatre company in the history of Los Angeles. It is a modern 400-seat facility and although theatre is the cornerstone, multiple disciplines convene at the facility that include a dance, music and lecture series.
This production is a truncated version of “The Gospel at Colonus” and it is set against the backdrop of a Pentecostal church service. The play is a Pulitzer Prize Finalist and Tony Award-nominated production that was the brainchild of Lee Breuer (“Mabou Mines’ Trilogy”), a playwright and director in experimental theater, who conceived and adapted the dramatic musical.
With a cast of twenty-one characters including a full-on choir, the play takes on the challenging task of bringing an audience not generally familiar with the classics, up to speed by using a “Preacher Oedipus” as narrator to reveal what happened in the past and what is unfolding onstage presently as “Singer Oedipus” – who represents the preacher after his sight is gone appears.
Confused yet? Hold on.
For years, Oedipus has been living a wandering life of suffrage and repentance due to the sins he committed in innocence. The former King of Thebes, he is now headed to Colonus, with his daughter, “Antigone,” who has been his loyal companion.
Now he reaches Colonus, the holy resting place that was promised to him. And once there, another daughter name “Ismene” finds him and pretty much lets him know that he can be in peace now, because he will be blessed, along with those that he, as preacher, blesses.
If you assert at this point that the daughters of Oedipus, are also his sisters, based on the earlier mention that he married his mother, you are correct.
This could not have been an easy production to mount. What with the intricacies involved in it being an adaptation of an iconic original, and now, it being introduced to an audience that is likely to be foreign to the world of ‘classic theatre’ with ‘classic’ meaning more European in language (read Shakespeare’s English). Add to that a character trying to inform them about the history of this iconic play/character, and to that, the directing of a full-fledged choir.
Whew!
But director Andi Chapman handles it all beautifully.
And if ever there was any doubt that black actors can’t handle the language used in generally European productions from the Shakespearean or Roman era, I’d be willing to present a wager…of which I am sure to win.
I’d even venture to say it sounded more natural and seamless than many of the Shakespearean productions I’ve seen where the white actors appear to take on a more fake-sounding speech pattern.
Chapman, an accomplished director who was born in New York City, is also an actor and educator. She received a Best Director Award for her work on the Actor’s Co-op production of “Steel Magnolias,” and has directed other works in the theatre that include “The Ninth Wave” and “Dutchman and A Summer Memory. “The Gospel at Colonus” marks her directing debut for Ebony Repertory Theatre; where she also serves as Associate Artistic Director.
There are many elements to consider in directing a play of this stature.
A huge cast that not only includes actors of various contributory stages (i.e. not everyone has lines, but each character seems to fill an intricate piece of the fabric as a whole); and a full choir (on stage throughout the entire production, and though not singing the entire time is still ‘acting’ on some level). All on a relatively small stage designed simple, yet elegant; with characters that enter and exit continuously.
This could have easily turned into a “gospel concert” highlighted by a lot of hollerin’ and shoutin’ and “gettin’ happy” throughout; but that may have been an easy route. Instead, Chapman took the time to be strategic; and interjected biblical scriptures that appropriately spoke to and reiterated the past or present of the Oedipus character’s life.
Now this play has a history of losing people. And although there was a time or two where “Huh? What just happened here” moments occurred; and we couldn’t connect the dots, so to speak, they didn’t last too long, and we got back on track .
Star Roger Robinson addressed this particular point during an interview with EURweb editor, DeBorah B. Pryor.
When I read the Gospel at Colonus it was confusing. You couldn’t follow the story of Oedipus at Colonus. So she (Andi Chapman) has cut and streamlined and really made sure that that story has come to the fore. Because the complaint, I have friends who was in the original production, who said to me, ‘Roger, the audience has come away kind of befuddled about the story, but loving the music. That was the only thing they could take away was the music. But this one they will take away the story also.
Funny, this ‘befuddled’ comment was made to this writer afterwards as she spoke with noted Hollywood actor Bernie Casey and legendary director, Stan Lathan.
And there was still some confusion, but as I mentioned earlier, we got back on track quickly.
An outstanding performance by Roger Robinson (Two Trains Running, Fraternity) who, as “Preacher Oedipus” handles the role beautifully. His approach to the character has an eloquence that makes you think only an actor of his age and tenure could pull it off so seamlessly. Robinson is a celebrated Broadway actor who has performed at most of the regional theaters in the USA.
During our interview, he speaks more at length on the challenges of getting funding for Black Theatre; which is addressed in an accompanying article.
RELATED: Why Aren’t Our Black Celebrities Supporting Black Theatre … Financially?
In ‘Gospel’ serving as the narrator (of his own story) from the pulpit, even as “Singer Oedipus,” appears onstage as Oedipus after he blinded himself (done with undeniable talent, grace and style by the talented former lead singer of Tower of Power, Ellis Hall, who really is blind).
Robinson draws us in with the emotional range of his speaking voice.
Kudos also go out to brilliant actress Kim Staunton, who plays “Antigone,” the daughter of Oedipus, marvelously. Her Antigone is solid and strong, yet graceful and Staunton handles the language exquisitely. Even in her quiet moments, without lines, you are drawn to her.
Staunton has been a member of the Denver Center Theatre Company for the past 13 seasons, and has performed on and off Broadway and in TV.
Other notable performances by William Allen Young (Moesha, A Soldiers Story) as “Pastor Thesus.” Young, a respected performer who has starred in over 100 television, stage and film projects, may be best known for his role as the father on the long-running TV show, “Moesha.” In ‘Gospel’ he is a loyal adviser/confidante to Preacher Oedipus; Gilbert Glenn Brown as Oedipus’ wayward son, Jackie Gouche as Singer Ismene and Nicoe “Nikki” Potts who killed it with her vocal solo.
Also, major props to the fabulous choir, with music beautifully composed by Bob Telson; the beautiful costume designs by Naila Aladdin Sanders; along with the eloquent and beautiful scenic design and lighting by Edward E. Hayes, Jr. and Karyn D. Lawrence, respectively.
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“The Gospel at Colonus” plays through July 19, 2015 at the Nate Holden Performing Arts Center, 4718 West Washington Boulevard in Los Angeles. Performances run Fridays at 8 p.m., Saturdays at 2 p.m. and 8 p.m., and Sundays at 3 p.m. Regular price tickets range from $45.00 – $65.00. Single tickets are available online at ebonyrep.org or by phone at 323-964-9766. Groups of ten or more are available via email at “[email protected] or 323-964-9766.
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