A Celebration of Life

The Gospel at Colonus

The Court Theatre closes its 2022/2023 season with what can only be described as a jubilant musical and dramatic celebration of life. I defy audiences to sit quietly, casually and passively just observing this pulsating production. If you aren’t clapping your hands, you’re bobbing your head to the beat; if you’re not actively participating in the kind of call-and-response tradition found in a Pentecostal Church service, you’re at the very least emotionally engaged. Theatergoers will find themselves filled with exultation at this ancient story brought into the twenty-first century. And if none of these things apply, you might want to check your pulse. 

Conceived and adapted in 1983 by experimental theater director Lee Breuer, with music composed by pianist and songwriter Bob Telson, and lyrics by both Breuer and Telson, this stirring, 85-minute production blends two artistic forms. The creative team  began with the tragic, classical myth of Oedipus, originally told in the second play of his Theban Trilogy by the ancient Greek playwright, Sophocles. The tale is then retold as a modern parable, a metaphor for Black lives, filled with pain, atonement and joy, and bursting at the seams with rousing African-American Gospel music and hope.

The story is set near Athens, in the tiny village of Colonus. Oedipus, now blind and near the end of his life, enters the hamlet accompanied by one of his daughters, Antigone. Soon afterwards his other beloved daughter, Ismene, hearing that her father has arrived, also joins him. The villagers demand that Oedipus leave because he’s entered sacred land. But prior to this story, in the first episode of Sophocles’ dramatic trilogy, a shocking prophecy was delivered to Oedipus. It said that one day he would kill his father and marry his mother. Despite his efforts to defy the oracle’s prediction, Oedipus innocently fell victim to his fate. After his mother learned the truth of Oedipus’ identity, she committed suicide. In his agony, Oedipus blinded himself. However, it was also revealed to him that he would eventually find the peace of death in this very sacred spot and, upon his demise, would deliver a special gift of power to Colonus.

The Chorus of villagers are comprised of men and women of varying ages and social stations. Asking to see King Theseus, Oedipus tells the Chorus that he’s been blessed by the gods and has a power to give Colonus. Upon his death and burial, Oedipus promises to bestow a great gift to the people. Oedipus’ estranged son, Polyneices (played by Kai A. Ealy), and his enemy, the evil King Creon (portrayed by Timothy Edward Kane), both try to cause trouble, but they’re driven away. Before Oedipus finally dies, he makes Theseus promise to care for his daughters and not reveal to anyone his burial site. Keeping his pledge to Oedipus, King Theseus proves to be a true friend while knowing that the gift promised to him in return will keep Colonus forever free from harm.

It’s easy to see the strong parallels that Breuer and Telson found between the Greek myth and the Christian Bible story detailing the Crucifixion and Resurrection. Oedipus’ story ends in a similar manner as Jesus’ life. Both of their followers and their sacrifices, as well as the promises they made, are similar enough to transform the musical into a Pentecostal sermon, spiritually told and sung by African-American actors and Gospel singers. 

Magnificently Co-Directed by Mark J.P. Hood and Artistic Director Charles Newell, Mr. Hood also contributes his expertise as Musical Director for this theatrical masterpiece. The experience of seeing this awesome production is like attending a colorful Easter service that’s masquerading as a Greek tragedy. Backed by Conductor Mahmoud Khan, who also accompanies on organ and keyboard, the gifted ensemble of onstage musicians also features Joshua Griffin on bass guitar, Amr Fahmy on keyboard, Oscar Brown, Jr. on lead guitar and Leonard Maddox, Jr. on drums. The production’s expressive Movement Design comes courtesy of Cristin Carole. Gorgeously lit by Keith Parham, Scenic Designer John Culbert’s towering, two-level set, with its tiers of freeform stone steps leading up to the stage, has the appearance of a contemporary Greek temple. In the center of the stage is a huge, sacred rock; and floating above the stage hovers a platform that serves both as the bandstand and the heavens.

Chicago is so blessed with theatrical and musical talent that theatergoers shouldn’t be surprised at the power and glory created by this production. The musical is led by one of this city’s finest talents, Kelvin Roston, Jr., as Oedipus. At Court Theatre, Mr. Roston has starred in several productions, but he truly knows this character, having played the title role in their prior play, “Oedipus Rex.” Recently he was hilarious in Mercury Theater’s production of “Clue,” and he’s been enjoyed on just about every Windy City stage, from Black Ensemble Theatre to the Goodman. In the tragic role of Oedipus, Kelvin absolutely commands the Court stage while taking the audience on a journey to salvation and deliverance.

As King Theseus, Mark Spates Smith reunites with Kelvin Roston, Jr., also returning to the Court Theatre, where he played the Chorus Leader in “Oedipus Rex.” Mr. Smith’s resonant voice lends well to this royal personage and as the ultimate friend of our tragic hero. Recently enjoyed in “Children of Eden” at the Cadillac Palace Theatre, the incomparable Ariana Burks is beautiful and soulfully sings as Ismene. The exquisite Aeriel Williams beautifully portrays Antigone. Although featured in the National Tour of “The Color Purple,” Ms. Williams was last seen at the Court Theatre in this same role, also in “Oedipus Rex.”

The Chorus of this show, as in the ancient Greek tragedy, is vitally important. This group of performers collectively represent the audience while watching the story unfold. They ask questions of the main characters and deliver commentary on the dramatic action and events. The fantastic Jessica Brooke Seals, who opens the show, has always been one of my favorite performers. I’ve enjoyed her at Black Ensemble Theatre, where she was seen in, among many shows, “The Other Cinderella.” Recently she dazzled audiences in Mercury Theater’s “Women of Soul” and “Priscilla, Queen of the Desert.” In this production she leads the Chorus as The Evangelist, where she rocks the house to its rafters. Multitalented Eva Ruwe is a standout in the Chorus with her five-octave vocal range. Lovely Chreise Thomas, who has appeared in “Hair,” “Dreamgirls” and in the National Tour of “Waitress,” is phenomenal as part of the Chorus and also serves as Vocal Supervisor for the production.

Gorgeous Jerica Exum, who was so wonderful in CST’s musical production of “The Notebook,” makes her Court Theatre debut as one of the glorious voices of the Chorus. The wearer of many hats, including songwriter, singer and vocal coach, Shantina Lynet also lifts her voice in song in the Chorus. Another of my favorite Chicago performers, the gifted and talented Eric A. Lewis leads the Chorus as one of the two Choragos, with a vocal range that soars to the heavens. He shares this role in the Chorus with the unbelievably talented Shari Addison, whose varied career spans every musical genre over the past five decades. But, as exemplified by her stellar performance in this production, Gospel is her forte. What a voice! Juwon Tyrel Perry lends their musical talent to beautifully singing the role of The Friend in the Chorus, and Isaac Ray, another Black Ensemble Theatre alum, brings his passion and gift for music to the Chorus ensemble.

Court Theatre’s extraordinary, emotionally-charged finale to their current season is a feast for both the eye and ear. The  Costume Design by Raquel Adorno is as beautiful and unique as John Culbert’s expressive Scenic Design. The score by Telson and Breuer played by a talented band and sung by a superb, first-class company of performers, round out a magical evening of theatre. Oedipus’ punishment for trying to defy the gods, his long torment and final redemption is turned into a modern-day religious parable for contemporary audiences that absolutely delights. The relationship between this story and Christianity, as well as other religions, is fascinating. In all, “The Gospel At Colonus” is a truly awe-inspiring celebration of life.   

Highly Recommended

Reviewed by Colin Douglas

Presented May 12-June 11 by the Court Theatre, 5535 S. Ellis Ave., Chicago.

Tickets are available in person at the theatre box office, by calling 773-753-4472 or by going to www.CourtTheatre.org.