Black Nativity Rejoices in Community Strength at Intiman Theatre

When I heard that the play Black Nativity was going to be remounted after a three-year hiatus, I was happy to know that the Intiman Theatre was ready to continue the Seattle tradition that has graced their stage every December since 1978.

This year marks the second annual performance of what director Valerie Curtis-Newton calls “a re-imagined version” of the show, which was interrupted in 2020 when COVID caused what was to be the almost two-year mandated closure of all theaters and live performances. Curtis-Newton’s mission is to “bring community back to our lives” and find hope in the face of the devastating effects of the pandemic, which, according to the CDC, continue to include mental and emotional health as well as compromised abilities for how we interact socially with each other.

Curtis-Newton’s Black Nativity does indeed bring a much-needed message of love, inspiration, and human connection. Most importantly though, her vision of the show creates a world of what community looks like and how its power can have a transformative effect on human beings.

The show opens with the origin story, told by four narrators (Felicia Loud, Esther Okech, Shaunyce Omar, and Yusef Seevers), each bringing their own power and unique personalities to their performances. Along with the narrators stands a powerhouse gospel choir, onstage throughout most of the show, serving as the heartbeat and undercurrent of Black Nativity with the singers’ converging harmonies, soaring solo performances, and a steadfast support for the storytellers to propel the story forward.

Women assist Virgin Mary during Jesus’ birth / Joe Moore

Performers: Makayla McGhee, Shaunyce Omar, DaeZhane Day, Esther Okech, Kearia Keke-Duncan

Even if we already know the legend (the exhausted Mary and Joseph being repeatedly turned away from inns and hotels, the birth of Jesus, the subsequent arrival of the three wisemen, and the shepherds who travel to visit the new baby), it is pure pleasure to experience the artistry of not only swelling music with tight harmonies, but also to see the scope of the story enhanced through movement by a joyful ensemble of dancers.

The ensemble radiates enthusiasm and unbridled joy whenever the dancers are onstage. There’s even an angel who seems to float on the stage manipulating two swaths of golden cloth that shimmer under the lights and billow as if she were flying. Whether or not you consider yourself a religious person, you will still be able to take in the visual majesty of how one might imagine an angel and a heavenly choir to look in real life and appreciate the artistic rendering of these images.

Black Nativity’s choreographer Vania C. Bynum spoke with me at intermission of the influence that seeing Alvin Ailey’s Dance Theater had on her, and she felt honored to have studied with the great Katherine Dunham, who famously inspired Alvin Ailey.

Bynum is a true believer of the power of dance and movement. She was tragically hit by a truck many years ago and says, “Dance saved my life, and that’s why I believe dance is life; movement and dance allowed my body to heal.” Bynum also struggled with depression and some physical health issues after her accident but said, “Dance and movement gave me hope. It’s a universal language, but one without words, which means you can speak volumes to someone’s heart, [and] inspire hope and positivity by uplifting movement.”

Choir with dancers on stage / Joe Moore

Inspired by Ailey’s choreographic style, Bynum welcomes a fusion of genres into her dances for this show (African, jazz, hip-hop, modern, and ballet), which fits right in with the theme of Black Nativity:  Welcoming all people and all ideas into the theatre, and regardless of how disparate they may seem at the outset, the concepts are seamlessly woven together to create a dynamic experience for the audience, so one feels like we are all part of a world in unity. We are all connected to this community.  

As we move into Act Two, the excitement of the first half of the show kicks up a notch, and segues into what Curtis-Newton calls “going to church.” Choral Director Sam L. Townsend Jr. steps into a much more central role than he had in Act One, serving as both the conductor of the choir and simultaneously an emcee (preacher?) of sorts. Townsend turns his full attention to the audience and the fourth wall melts away as he initiates the audience call-and-response during the songs, cajoling and riffing off of everyone with spontaneous humor and jokes, bringing children up on the stage to hang ornaments on a Christmas tree that the Narrators had set up onstage, and guiding the audience through sing-alongs (thanks to the “mini-hymnals” included in our programs to ensure everyone could follow along and no one would be  left out).

Rontrell J. Brimmer featured with the Gospel Choir

Joe Moore

And sing we did! Audience members enthusiastically joined in on the songs; no one seemed shy as we all—a room full of strangers who had never met and for the most part were not professional singers—sang together, often in unison but also in harmony (which sounded pretty good considering we had never rehearsed together). It felt like we had the same purpose for this evening and that we all had our metaphorical arms around each other as we journeyed through this joyful experience together.

After the show, I had the chance to dialogue with Curtis-Newton, the director and mastermind behind Black Nativity who created this delightful, thoughtful, and visionary piece of theatre. She says we all “have some work to do” and added that she is “grateful to The Intiman for supporting my ability to reach out to our community.”

I asked her how she sees this production of Black Nativity playing a role in our current times, where, in light of our recent election, there is already a feeling of uncertainty, fear, and impending chaos. Curtis-Newton replied, “The chance to release our anxieties and lean into the possibility of better days is…so important. We are all community.” She added, “We have come together to be together; we have not come together to be apart,” implying that theatre can serve as a safe space for us to persevere with our togetherness, practice kindness, and turn towards each other for strength. Curtis-Newton said that regardless of how the ripple effects of our togetherness play out, “We have this moment.”

The aspiration of art imitating life. Or transforming life.

As we raised our champagne glasses in the lobby to celebrate a successful Opening Night, I looked around the room at the hundreds of folks whom I had just sung with, laughed with, wondered in awe with, and cheered with. I felt like we all belonged there no matter our race, our gender or sexual orientation, our religion, our disabilities…and no one cared about anyone’s differences; we all were just happy, welcoming, and empowered. 

This is what community looks like, and as we aspire to better days, Curtis-Newton’s words continue to echo in my head: “We have this moment.”

Now we must decide what we choose to do with this moment.