If you compare human voices to musical instruments, most of us are equipped with dime-store kazoos. But when James Weldon Johnson wrote God’s Trombones more than 80 years ago, an adaptation of which is now playing at Karamu House, he wasn’t talking about our thin and squeaky voices.
His book and the stage adaptation, both subtitled Seven Negro
Sermons in Verse, salute the old-time black preachers who thundered
from the pulpit like throaty trombones and brought their flocks a sense
of unity, comfort and purpose. This production sizzles with the same
fire and passion the best of those preachers could summon.
Mixing free-verse sermons with gospel music and modern and African
dance, Trombones is a riveting and inspirational experience. But
it follows no plotline, jumping from a sermon about creation to the
prodigal son, the story of Moses and the crucifixion.
It doesn’t matter how well-worn these tales are, the telling is
paramount — and here it is spectacular in virtually every way.
So, in keeping with the “12 Days of Christmas,” here are a dozen
reasons why God’s Trombones is a must-see.
1. “The Creation,” read in a recording by William Clarence Marshall,
his rolling voice-of-God tonality augmented by a robed chorus miming
his words with simple elegance.
2. A full choir singing “Genesis” under the spirited direction of
Karen Gorman-Jones, who is more animated viewed from behind than most
people are from the front. (She also has a glorious solo at the end of
the show.)
3. Rodney Freeman narrating “The Prodigal Son” with gravelly force
as other players act out the story.
4. Durand Ferebee, who sings “I’m Coming Home” with clarity and a
meltingly sweet earnestness.
5. Kenny Charles and Kenneth Parker, taking turns as preachers,
using their vocal “trombones” like the legendary J.J. Johnson in a
session with Miles and the Count.
6. Lithe Rashawn Anderson, the featured dancer, and all the dancers
who stylishly execute the choreography of Desiree Parkman and Talise
Campbell.
7. Joseph Moore who, Bible in hand, relates the story of Moses and
connects to the audience even though he is often in shadow.
8. The powerful, soaring solos shared by several performers in
“Calvary,” as Jesus is nailed to the cross.
9. Kyle Carthens, who testifies about Gabriel as the rains of Noah
change to “The Fire Next Time.”
10. De’Ja Connor, who is precise and intense, and whose percussive
contributions to the final “Hallelujah” anthem are positively
nailed.
11. Everyone in the 36-person cast who contributes to this stirring
ensemble production.
12. And, finally, adapter and director Terrence Spivey and musical
director Sharolyn Ferebee, who make all this work while also making
two-and-a-half hours fly by.
There are some uneven moments, but you’re unlikely to remember them.
God’s Trombones will alternate with the excellent Black
Nativity as the Karamu holiday show from now on. Each deserves a
place on your calendar.
This article appears in Dec 9-15, 2009.
This musical/play was both inspirational and exciting. My favorite scenes were the crucifixion. James Boyd Jr. held his arms in the air for what seemed to be an eternity, without showing any weakness and the Red Sea Scene/Pharoah & wife was electric, the dancers, the band/orchestra, the choir, the acting…need I go on. This is a must see this holiday season. Take your friends, family and enemies to experience this outstanding show. Kudos to Mr. Spivey and the tireless efforts of the cast & staff.
I enjoy “12 Days of Christmas”, I enjoy instrumental in general, I enjoy Hans Zimmer especially, I’m crazy about his music. If U are not in theme he is the one who wrote and performed music in “Gladiator”, his music writing is a subject for research paper. Thanks for sharing ideas. Regards, Janet.