PicksInSix Review: The Gospel at Colonus - Court Theatre
Infectious… spectacular and from the heart.
PicksInSix® Review | Guest Contributor Ronald Keaton
There is so much to share about “The Gospel at Colonus,” the absolutely marvelous production now playing at Court Theatre through June 11, that one hardly knows where to start – or whether all the praise can fit in here. Based on the Oedipus trilogy by Sophocles, it views the Greek tragedy – and in this case a specific tale that shows subsequent comparisons to Christian fact and legend – through the energetic prism of the Black Pentecostal Church. It’s a fascinating adaptation that seems naturally to play into such customs and stories.
Some background: “Oedipus at Colonus” is the middle play in the trilogy. Oedipus has already experienced what the gods say he will endure. His father the king is killed in battle by his son’s hand. In mourning, the son attends his mother Jocasta and, in time, they have three children together. When that shame is discovered by the world, Oedipus then blinds himself as punishment for his sins and wanders the world for twenty years. Yes, that’s quite thumbnail in description, but it sets up the second play, where Oedipus is now cared for, by first one and then both daughters, as he is guided back to Thebes, desiring now to go home and die quietly. And of course, nothing is quiet in Greek storytelling.
The versatile Kelvin Roston Jr. gives an Oedipus of great emotion and strength that translates into non-stop passion throughout the play. As the two sisters, Aeriel Williams (Antigone) and Ariana Burks (Ismene) are both zealous, vulnerable guards of their father’s welfare. Mark Spates Smith (Theseus, King of Athens) is a calming presence as his character converts to a narrator/minister of the church here. And it’s lovely to watch the wisdom in his work. Timothy Edward Kane is a smooth, slick Creon, who is Jocasta’s brother, tempting Oedipus to return to his birthplace, so that the fortunes the gods have predicted will not come true and Creon can retain power in Thebes… And on the story goes.
There are so many high points from a talented ensemble, a most entertaining entity this writer enjoyed thoroughly. Juwon Tyrel Perry portrays The Friend, who first tells Oedipus he cannot enter a holy place, in a stunning vocal turn. Kai A. Ealy as the evil son Polyneices offers wonderful character work, full of depth and deception. As dual Choragos whose advice Oedipus accepts, Eric A. Lewis and Shari Addison deftly lead the citizenry in alternating moments of huge passion and quiet choral harmonies, all rooted in the Pentacostal tradition of call-and-response that is nothing if not exciting to watch here. Everyone deserves mention – Jessica Brooke Seals as a knowing preacher of sorts, augmented by a Greek chorus (Jerica Exum, Cherise Thomas, Isaac Ray, Shantina Lynet, Eva Ruwe) who takes the captivating music to emotional heights in a totally unique take of the Court’s classic theatre mode.
“The Gospel at Colonus” is co-directed with an elegant combination of big choral strokes and intimate individual moments by Mark J.P. Hood and Charles Newell with associate director Taron Patton. A sparse scenic design by John Culbert; the colorful Raquel Adomo costuming; the wonderful, attentive shafts of sharp light in one moment and warm, enveloping light in another by Keith Parham; the complimentary sound layers designed by Sarah Ramos – all eloquent pieces to a puzzle of thick design and story. All of these elements, expert as they are, grabbed onto the coattails of the exciting, heartfelt gospel blues from the five-piece unit led by Mahmoud Khan. Along with the audience, one could even see Production Stage Manager Kate Ocker clapping along from the stage manager’s booth. That’s how infectious it is – spectacular and from the heart.
Created by Lee Breuer and Bob Telson, the show had its original 1983 production at the famed Brooklyn Academy of Music in New York – after workshops at the Walker Art Center in Minneapolis and in London – with Morgan Freeman as the preacher and the great Blind Boys of Alabama as Oedipus, in what Mr. Breuer and Mr. Telson called a “eureka moment” in their casting. It is a fascinating adaptation of an exceedingly challenging story to tell that naturally plays into the customs and traditions of Black churches. I would venture to say that if they saw this production in all its fullness and nuance, they would be quite happy with the result.
GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.com Coming soon, his new solo play “Echo Holler.” www.echoholler.com
PHOTO|Michael Brosilow
COURT THEATRE
presents
THE GOSPEL AT COLONUS
5535 S Ellis Ave.
EXTENDED through June 18, 2023
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