WINSTON-SALEM – JuCoby Johnson‘s Heritage shook the rafters of the Ring Theatre at Wake Forest University with a heartbreaking and heartwarming show about community, creativity, church music, and punk rock.
Produced by the N.C. Black Repertory, which produces the International Black Theatre Festival biennially in Winston-Salem, Heritage was also sponsored by the Henry Luce Foundation, and is part of the Wake the Arts, and Wake Forest School of Divinity‘s Finding Holy Ground series.
Set in and out of the Heritage of Babylon Missionary Baptist Church, Heritage revolves primarily around young people, their hopes, dreams, and disappointments, and their church families.
Mahalia, played as fiercely determined and passionate by Jasmine Hurt, returns home after 10 years on the road as a musician. Her band, Mahalia and the Jacksons, is on the verge of real success after years of struggling.
Mahalia has come back to her small town only after receiving a call from her formidable Aunt Roberta. Melanie Matthews played Roberta as an energetically nurturing woman who gets things done. The church where Mahalia grew up as a rebellious preacher’s kid is about to be torn down to its foundations.
Roberta is a fighter, but Mahalia, who has reasons of her own, begs her aunt to back down. “You can’t keep holding on to what isn’t yours,” Mahalia insists, but Roberta reminds her that the church is actually Mahalia’s, willed to her by her late Rev. father.
Roberta appeals to Mahalia’s sense of family and community to enlist her in the fight against the real estate agency that has taken control of the church property. The problem is that both of them have secrets that bring their forward progress to an impasse.
Untangling those secrets and unpacking complicated relationships is the work of the play. In the process, gender identity revelations are deftly handled, despite “fear, confusion … blood and money,” as the sermon goes.
The production began with a rousing contemporary dance by Bailey James as Young Stacy, Mahalia’s friend; and a moving sermon by the Rev. L.T. Jackson, Mahalia’s father, accompanied by the dramatic rattle and smack of a tambourine.
Young Mahalia, played with verve by Nikyla Boxley, sang “His Eye Is on the Sparrow,” and the non-stop action, crackling dialogue, humor, and poignancy were under way.
Cliff Odle was perfectly imposing as the Rev. Jackson with his big, open face and resounding voice. He tells Aunt Roberta that Mahalia is “lost in body, mind and spirit,” and the scene cuts to Mahalia and her friend Bishop singing one of her hits. It’s about “your grave,” “you’re dead,” and “burning alive.”
It’s a far cry from Roberta back in the church, invoking that “We can never have too much warmth and comfort” and that Heritage is “our church, our home, and our place of comfort.”
Mahalia performs with her friend, Bishop, who was also part of Heritage. A drummer with little attachment to the church, he may be as talented and determined as Mahalia. Nic Brown played Bishop with great charm and humor.
Jai Shanae played the grown Stacy who has become steely after surviving a secret childhood trauma.
Joe Johnson played Walter, a church member whom Roberta takes under her wing. Johnson was especially appealing as he told his story of alcoholic addiction and recovery.
Most of the characters got to deliver soliloquies about the first time they realized that “God is real.” These recollections are beautifully written, revealing much about the characters, and were effectively delivered by the actors.
The show provides insight into so much of what it means to be human: how we relate to the divine, how we process trauma, how we forgive the unforgivable, how we individuate from children into adults, and how we create something out of nothing. And does it artfully from nuanced acting to set, sound, and costuming.
Direction by H. Adam Harris resulted in lively movement and staging on the small but detailed set by Moriah and Isabel Curley-Clay. Lighting by Karin Olson was used to dramatic effect in fast-changing scenes and off-stage action. Gregory Horton‘s costumes – from Mahalia’s neo-hippie performance garb to Stacy’s crisp business suit and saucy fuchsia platforms – supported the characters.
Sound design by Jasmine Williams was especially notable, weaving music and dialogue seamlessly and cleverly throughout. Songs include hymns like “I Need Thee, Oh, I Need Thee.”
Heritage runs through Saturday (Aug. 3), so there are plenty of chances to see it. Several of the actors are UNC School of the Arts and N.C. A&T alumni. Tickets will be selling fast, and it’s a small theater, so be sure to get yours.
Besides Heritage, the International Black Theatre Festival is presenting the heritage, the history, and the newest American and African theatre experience with more than 120 theatrical performances, an international colloquium, a free film festival, and more between now and Aug. 3. For more information, visit www.ncblackrep.org, or 336-723-2266.
Heritage runs through August 3 at the Ring Theatre.
