BY Bob Fischbach
WORLD-HERALD STAFF WRITER
Published Thursday December 11, 2008
Combine seven poetic sermons of African-American writer James Weldon Johnson with the traditions of the old-time black preacher, then add music.
That gives you some sense of "God's Trombones," which opened Friday at the John Beasley Theater. But it doesn't begin to capture the rousing spirit of the words, the energy of a 20-voice gospel choir or the artistry of a half-dozen or more soloists belting improvisational riffs.
"God's Trombones" is a classic case of the individual components of theater coming together to become something more. The Beasley has mounted a rollicking, moving celebration of an aspect of black culture: an old-time church service.
And the crowd at Friday's opener, responding with raised hands and shouts, became an intimate part of the show, at times carried away by the emotion and belief found in word and song.
Johnson (1871-1938) was a pre-eminent black leader and wordsmith of his day, having served as a teacher, lawyer and diplomat. He was general secretary of the National Association for the Advancement of Colored People for several years, starting in 1920.
He also wrote the words to the iconic "Lift Every Voice and Sing," known as the "Negro National Anthem," which his brother set to music.
You might remember his account of "The Creation" when John Beasley delivers that classic opening: "And God stepped out in space, and he looked around and said, 'I'm lonely. I'll make me a world."
It takes an actor of Beasley's stature to turn such a familiar work into something his own - expressive and yet conversational, even personal. And he does, breaking from behind his podium to give physicality to his delivery on both that work and an account of the prodigal son.
The choir, under Janet Ashley's direction, frames Johnson's sermons with gospel hymns. It marches in to the rhythmic beat of "Come Let Us Worship the Lord," then shifts effortlessly to the gentler, sweeter "Let Me Take the Time to Express I Love You." The song builds in intensity and volume, raising a sense of anticipation before Beasley even begins.
And so the night goes, swinging from sermon to song, solo to harmony, improvisational riff to muscular, unison singing, and then back to another sermon.
Beasley's wife, Judy, is a dynamic, if less forceful, speaker on "Go Down Death," a funeral sermon and on the show-capping account of judgment day.
Clifton Hobbs III handles the story of Noah building the ark, while William G. Penn delivers the sermon about Moses telling the pharaoh, "Let My People Go."
Ashley gives an impassioned account of the Crucifixion.
It's quite a bench of preachers, holding their own next to the choir and its handful of gifted soloists: Lois Cudjo on "Can You Hear Him," Brandi Smith and Cherrese Washington on
"Calvary" and "Can You Hear the Hammer," and many more.
Ashley and director Tyrone Beasley (Judy and John's son) handle the transitions from words to music seamlessly, and the show flies by in 70 minutes.
The handsome, symmetrical set consists of a tiered choir loft of tan walls with stained wood trim, with easy chairs and wooden podiums in front to the left and right.
Eleanor Lucky, William Tate, Daniel Woods and J. Shannon accompany the choir.
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