When Langston Hughes penned Black Nativity in 1961, he wasn’t merely crafting a play; he was creating a cultural and spiritual touchstone that would resonate through generations. Rooted in the African-American experience, Black Nativity is a joyous celebration of faith, community, and resilience. As we journey through its history, we uncover its profound impact on the theatrical world and beyond. Hughes, a Harlem Renaissance artist at his best, knew exactly what he was doing. The writer of more than 20 plays, Black Nativity stands out as one of his most enduring works, consistently gracing stages with a message that leaves audiences feeling seen.
Every year, for as long as I can remember, Karamu House includes a production of Black Nativity in their season’s lineup. Attending is a tradition I strongly support, and I’m always glad I came! This year was no different. Directed by Tony F. Sias and Errin Weaver, and in partnership with Playhouse Square, this year’s performance brought light to the season and lifted end-of-year spirits. It’s been a weird fourth quarter around here, but the power of the arts and its ability to spark something within are always available. Recently, I took my little available self on a date to the Hanna Theatre, and I highly recommend it (there are still a few shows left!).
As the lights in the theatre dimmed and I settled into my seat—pretzel in hand—a video showcasing the story of Karamu House began. It was a reminder of the rich history still incubating just minutes away. As the oldest African-American theater in the United States, Karamu House played an integral role in Hughes’ development as an artist and continues to be a cornerstone for a range of artists today, many of whom were about to grace the stage. There are a handful of Karamu House cast members I now recognize (pointing at you, Joshua McElroy), and I quickly realized that Joseph (Nehemiah Spencer) and Mary (Kailyn Mack) had been recast from last year’s performance. There’s something special about cast continuity, and I’m proud of them! You would be, too—of the entire cast and orchestra, most of whom have strong Cleveland ties.
For those familiar with the biblical nativity story, Black Nativity dramatizes it as a gospel musical, taking the audience on an emotionally charged journey. The story begins on a vibrant note, stirring the soul and setting the tone for the next two hours of this two-act play. The stage presence was dynamic and balanced, with each cast member’s clear and defined performance drawing the audience’s gaze at just the right moments. The set design didn’t disappoint either, with zones that created focus points during narration, solos, and group features. There was even a bit of smoke! Every word and beat was paired with complementary movements and choreography inspired by African and modern dance steps and sequences, which reinforced the story’s deeper points.
And there was certainly a point to be made! The point of prophecy fulfilled. The point of the power of the Most High. The point of preservation and the reminder of what the Nativity story truly means. I’ve always appreciated Karamu House productions because they often weave modern moments into foundational storylines, adding just the right amount of flair. I attended on a Thursday, but let me tell you—it was definitely a Sunday Service on stage. (I imagine the Sunday afternoon performances are a whole other level of joy.) Not a single note strayed, and during the chorus portions, you could almost guess the denominations represented on stage by the extra claps and two-steps. It was great.
I often admire performance artists because they command characters that are not their own but studied, inhabited, and brought to life for the spectator. It’s impressive—and maybe even exhausting. Though I don’t personally know any of the cast members, their portrayals felt authentic. It was as if they belonged there, and that sense of belonging extended to me. I saw my family on stage, smiling at each other. I saw my cousins (and them) having a good time. I felt my grandma’s spirit telling it on the mountain, and so much more.
My FeelSpace moment happened near the end of Act 1, when the cast posed a simple yet profound question: What shall we bring to the Sweet Little Jesus Boy? My spirit was challenged a bit because, umm, I haven’t bought Jesus a gift yet. (Yes, that’s literally what I thought at that moment.) But I need to, because I am a blessed being. And it’s these convicting moments—the ones that challenge and inspire—that I live for, and that’s exactly what Black Nativity delivers.
For those who believe, and even those still on the journey, Black Nativity will move your heart with a special beat and open a space for reflection on an age-old story. In the hustle and bustle of the Christmas season, often clouded by capitalism, taking time to engage with something meaningful feels necessary. Karamu House continues to tell relevant stories about Black lives and experiences, and their production of Black Nativity reads the same. It carries the narrative forward with vibrancy and joy in ways I didn’t even know I needed—and for that, I thank them.
mj
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