The Gospel at Colonus combines the black gospel choir of modern America with the tragic chorus of ancient Greece, reuniting theatre and religion in manner that would make sense to the founders of our Western civilization. After all, in Greek, tragedy literally means “goat song.” Sacrifice an animal and tell a story in song. That’s the way it was. In fact, it was so important to attend, they even brought the prisoners. It was medicine for the society and the soul.
If you are in need for some soul medicine, African American Repertory Theater has mounted a proud production of this original alchemical creation. Sandwiched between Oedipus Rex and Antigone, this rarely performed story found its rebirth in a famous collaboration of Lee Breuer, Bob Telson, and a host of performers. AART give it their all in this story of Oedipus’ last stop, a town called Colonus and they don’t disappoint. Bring a group because this theatrical event works best as a communal event.
Staged as a “Black Pentecostal Service,” Bryan Wofford’s set looks like a cross between a televangelist’s stage and a temple ruin. The fallen columns serve many uses in this pageant from bench to podium to final resting place. After the choir assembles and the “Preacher Oedipus,” played by Gil Pritchett, enters, we learn that today’s service will take as its reading the book of Oedipus. Pritchett’s Preacher is altogether winning. He engages the audience in the most welcoming and encouraging way as he relates the terrible life of Oedipus.
Onstage is also “Singer Oedipus” played by Terrence Charles Rogers and “Evangelist Antigone” played by Regina Washington. They enact, react and interact as the story is sung and said. Aiding the Preacher are the Choragos Trio who are an awesome sight. Eleanor Threatt, Kristal Jemerson and Simone Gundy are adorned with shiny shirts and glorious Afros. The effect is a girl group who means business. Their choreography is as sharp as their gaze as they deny the stranger access to their sacred ground. At this point, we get the concept. The characters from Oedipus’ life will come and go. Accompanied by Scott Davis’ evocative lights, the play will move from song to song. It is a good way to attack this story in which the plot moves a little while the mouths move a lot.
The crux of the situation is that Oedipus is going to die and wants to find a place to do it. Apparently it will mean a blessing for whoever lands the honor. We get to meet his plotting son Polyneices, his other daughter Ismene, Noble Theseus and laughably sinister Creon. If you really need to know the story, they provide the synopsis in the program. It suffices to say that this man has suffered long and hard and has more to endure before the very end. This makes for some very powerful music. The voices are uniformly strong in this production. The emotion is so rich the vibrations alone will move you. They could perform it in ancient Greek and be equally successful. Special mention goes to Sheran Goodspeed Keyton, though. It is a privilege to let those notes flow through you and she delivers them with such earnest intensity it is easy to partake. The Choragus trio, also, takes turns with twirls of vocal virtuosity each outdoing the other.
Though the songs carry the load, the acting keeps pace. Regina Washington’s Antigone is grand and powerful. It isn’t easy finding the right tone amongst the singing. She navigates the narrow passage between historical and histrionic. This isn’t naturalistic acting to be sure, but she finds an affecting honesty that fulfills her character’s purpose as her father’s faithful helpmate. Elliott Gilbert II’s Thesus is similarly successful. Less effective are Trey Simien as Polyneices and Jalon Harris as Creon, but the uneven talent adds to the effect of a service instead of a play. Director Sonya Ewing Andrews may be making a shrewd decision here with her casting choices. Whatever the case, the total effect is believable and engaging.
This production is perfect example of the power of song. It isn’t church, but it is a splendid serving of soul that is as uplifting a tragedy as you will ever see. Bring friends, bring enemies, bury the hatchet and lift him up.
