Displaying items by tag: Taron Patton

After an unexpected delay due to Covid-19, a most anticipated musical has finally opened at the Court Theatre. “The Gospel At Colonus” is the second installment of Sophocles’ Theban Trilogy. The first, “Oedipus Rex” was produced by Court Theatre during the 2019/2020 season to rave reviews. The Third, “Antigone” has a February 2024 production date. We dry our eyes and thank God this gospel is finally proclaimed. It is truly a religious experience.

Like the Black church today, the theater played a crucial role in fostering a sense of community among Athenians in 429 BC. Stories in the Old and New Testaments bear striking similarities to Greek myths. David and Achilles have very similar qualities and storylines. It’s possible that James and John of the New Testament is based on Castor and Pollux, the sons of Zeus, God of Thunder. In Mark 3:17, Jesus named James and John “Sons of Thunder” Coincidence, maybe. It is evident why Lee Breuer along with music composer Bob Telson would adapt “Oedipus At Colonus” into a Pentecostal revival meeting, Gospel and Greek myths go hand in hand, they both tell great stories

The set for “Colonus” is a work of acoustical ingenuity by Scenic Designer John Culbert and Sound Designer Sarah Ramos. The band lead by Mahmoud Khan is raised above the main action. There are no walls for sound to bounce off. You have a bare bones frame of a cathedral, or is it the groves of the Gods? You be the judge. There is a clearing center stage with multi levels, on the top level is an unshaped stone. The music from the 5 piece band is excellent and comes through loud and clear to the mic éd up cast. The costumes by Raquel Adorno gave Athenian village down to the sandals.

Directors Charles Newell and Mark J.P. Hood with Associate Director Taron Patton has curated the best voices in gospel music available in the Chicagoland area. Every single member of the cast is a strong singer. Music Director Hood has updated the feel of the music. Where Bob Telson was inspired by gospel singers of his time, Hood found inspiration in today’s gospel artist like Donald Lawrence, Ricky Dillard and Kirk Franklin. The musical arrangements were fresh and exciting. I heard the most complicated, beautiful vocalizing I have ever heard on stage. I thought my guest was going to stand up and do a holy dance.. she came close. Thanks to the movement design by Cristin Carole, the chorus was alive on stage instead of standing on risers like a choir.

It was especially uplifting to see women in this male dominant production as more than placeholders. Aeriel Williams as Antigone had a strong personality and it showed. Ariana Burks was beautiful in the role of Ismene. Shari Addison’s (who’s daughter is also in this production) sang for the heavens to open. Mark Spates Smith as the preacher/ King Theseus kept the audience involved and shouting “Amen”. Juwon Tyrel Perry and Eric A. Lewis harmonies had the crowd yelling. Timothy Edward Kane as Creon was an interesting and bold move. The male voice carrying the greatest load was Oedipus, and in the hands of Kelvin Roston Jr. we are blessed. Roston bellows one minute and the next he is sotto voce. The vocal gymnastics all these singers exhibit is truly amazing.

“The Gospel at Colonus” is filled with Christian values, as well as Christian music. Oedipus seeking refuge in his old age receives sympathy and grace for his plight. He is forgiven and absolved of his sins. Before his death, he is born anew. He is transformed from a blight on the city of Thebes to a blessing for Athens. Oedipus was taken without lamentations, suffering or pain. Let the weeping cease, he was blessed. It is our Christian hope we can all be so blessed. Bless yourself and see this show.

HIGHLY RECOMMENDED

When: Through June 18

Where: Court Theatre 5535 S. Ellis Avenue

Running time: 90 minutes

Tickets: $40. - $82.

Contact: www.courttheatre.org

We all know that certain words are verboten in polite society - some because they are coarse, like expletives; others because they are demeaning or belittling, or off-limits.

One of these – the N-word – is the hook that triggers the action in a new play, called, simply, ‘N,’ at the Greenhouse Theater Center. Smoothly directed by TaRon Patton, the story revolves around an ambitious young actor, Eddy (Ryan Smetana) who has been hired as a live-in aid for the 70-year-old Mrs. Page (Stacie Doublin).

Immediately we are intrigued by Mrs. Page, who is a character rarely (if ever) portrayed, an African-American Goldwater Republican. Eddy, who is white, is all about proper liberal social behavior, in visible arenas, like recycling, and bringing his own shopping bags to the grocery store. He is also rather a narcissist, and the consummate guy with his heart-on-his-sleeve.

Mrs. Page does not suffer his foolishness gladly, and has reluctantly accepted his arrival in her home. She quickly sets, and carefully maintains, a dividing line to ward off any emotional intimacy with this intruder. But Eddy is young, and crashes and burns a couple times – expecting and eventually getting emotional support, though its dispensed sparingly by Mrs. Page.

Things all come to a head when Eddy gets his career break with a major name theater production. But then, a script rewrite inserts the ‘N’ word in the show, and he resigns the role. There are stormy moments for both parties.

And Mrs. Page, who earns a living as a stock trader and investment advisor, makes a compelling case for her support - as an African-American – for conservative 1960s-era Republican Barry Goldwater, who staunchly defended the right of the individual. “Contrary to popular opinion,” Mrs. Page tells Eddy, “you are a minority – of one.”  

Playwright David Alex shows canny skillfulness in the craftsmanship of ‘N.’ For example, as the play opens, Eddy is auditioning with lines from Oedipus concerning fate versus free will, done in a Southern dialect - foreshadowing the discussions ahead. 

Still the first act needs polishing: lines by Mrs. Page like, “Your employment includes room and board,” and “Understand it is not by my choice that you are employed here,” seem less like dialog than scene-setting pronouncements. At two different points, in a darkened room, a phone call is overheard by an unseen third party – that seems contrived. And Eddy behaves and speaks with unnatural familiarity as a new arrival in Mrs.Page's home. Likewise for Mrs. Page, though she is rough, not friendly like Eddy.

There seem to be some distracting plot points, e.g., Mrs. Page is an avid astrologist, but has been housebound since one of her predictions led to tragedy. And she cooks Jewish dishes for a neighbor.

The second act, though, completely redeems things – suggesting that first half may be in development still. We really see the characters come into their own. Stacie Doublin is powerful in the later dialog. And a final, doleful scene performed in silence by Eddy and Mrs. Page is moving and strongly affecting.

Also noteworthy is the performance of Reginald Hemphill as Eddy’s buddy DeShawn, who commands the stage for his brief time on it. Speaking also on word usage, “You are not a ‘brother,’” DeShawn, who is African-American, advises Eddy. “This may come as a shock to your white liberal sensibilities, but you are not black!”

Alex, who is a fixture in Chicago theater, has written more than a dozen other scripts, including Eroica at Red Twist Theatre, and Ends, which won an African-American Theater Festival Award at the University of Louisville. ‘N,’ thought provoking and lively, comes recommended. ‘N’ runs through November 17 at Greenhouse Theatre in Chicago.