Written and Directed by: Worth Gardner and Donald Lawrence
At: Chicago Center for the Performing Arts, 777 N. Green St., Chicago
Phone: 鵸) 327-2000; $39-$49
In an Open Run
Be forewarned about the gospel musical Sing Hallelujah!
Don't go expecting gospel music to be weaved though a serious plot like in The Gospel at Colonus. And don't seek out any type of cultural context to African American history and culture as in the revue Ain't Misbehavin' or Regina Taylor's recent Goodman Theatre hit Crowns.
Sing Hallelujah! is a gospel revue, plain and simple. There's nothing wrong with that, but after exposure to the aforementioned musicals, Sing Hallelujah! feels like a lost opportunity.
I only say this because the music making in Sing Hallelujah is so wowing that it could stand to have more to hinge on it. Instead, Sing Hallelujah! relies on gospel music's ardent fans to bring their own personal religious connections to the songs performed. Even though it's impossible to resist the infectious gyrating rhythms and the performers' heartfelt devotion to the overflowing river of song, gospel neophytes (like myself) would benefit with more context than just minimal happy talk between numbers and granting the audience permission to holler out, sing along and to stand when the spirit moves them.
Still, one is clearly aware that this is gospel music at its glossiest best. Originally produced back in the mid-1980s where it enjoyed a year-long run off-Broadway, Sing Hallelujah! has been tweaked a bit to include new songs and arrangements by composer and music director Donald Lawrence during its pre-Chicago run at the Cincinnati Playhouse in the Park this past summer.
Alternately praising Jesus or retelling Biblical tales with creative gusto (including one eyebrow-raising one called 'Sodom'), the quintet of all-Equity powerhouse performers shoot off vocal pyrotechnics in every number. Candy West gets things jumping early on in 'Oh Mary' pleading with her not to weep. Anitra Castleberry jives along in the calypso-flavored 'Shut De Door' (to evil, that is). Russell Hinton gets the audience up on their feet for the Act I closer 'God Is.' Erica Bratton-McCollough and DeWayne L. Woods also dazzle with their non-stop vocal energy (even though Woods jokingly collapsed at the opening night performance from exhaustion).
In addition to soloing (with the tightest of back-up harmony), each performer melds into a synchronized ensemble in group numbers like 'Didn't It Rain' as doubting Noah neighbors realize their error. They also shine near the end in the never-tiring 'Running for Jesus.' This is all backed up by a band under conductor/pianist Morris Mingo that matches the vocal quintet's vocal virtuosity.
Each song is delectable and obviously religiously devoted, but that doesn't shake the notion that we're largely getting a lot of surface flash. What could have elevated Sing Hallelujah and all its hand-clapping enjoyment would have been an effort to tap into the roots and cultural context that all of this glorious music grows from.
