We can open a window of understanding of any culture by closely exploring the rituals they observe in family and religious gatherings. African American spiritual traditions rooted in both Christianity and Africa are celebrated in Regina Taylor’s Crowns. The terms “crowns” refers to the elaborate hats worn by black women to Sunday church services. “Crowns” takes us through a complete church ceremony from the procession to a closing funeral and features a collection of standard gospel tunes. Taproot has assembled a solid group of performers for this show to sing and dance with a contagious joy that is impossible to resist.
The work has a unique history. The initial source for the play is a black and white photo journal Crowns: Portraits of Black Women in Church Hats, put together by photographer Michael Cunningham and journalist Craig Marberry in 1998. In 2002 actress, director and playwright Regina Taylor strung together a number of the stories featured in the journal and added a collection of traditional gospel songs (the show has no named composer). Though the play never actually made it to Broadway, it has become one of the most performed musicals currently touring our country.
Taylor molds her work around Yolanda (Bethanie Willis), a young Brooklyn teenager who has just lost her brother in a street shooting. She is sent to South Carolina to begin a new life with her grandmother (Tracy Michelle Hughes). Willis possesses an electric exuberance in both her singing and dancing. Watching her being spiritually replenished by her grandmother and her church friends is one of the principal delights of the play. Hughes has a magnificent voice and uses it to great effect in a collection of stirring numbers. “In the Morning” and “Wade in the Water” are two of her showstoppers in the production.
The church hats worn during the production quickly become one of the key symbols of the play. The wearing of fancy headgear to church is a holdover from the African tradition. Yolanda points out that African Americans may be unknowingly acting a lot more African than they are aware of. In an NPR interview, Taylor noted “Hats reveal and conceal, (linking) memories to the subconscious, memory that’s been passed down from generation to generation.” The hats these women wear can reflect the respect they have for the Sunday ritual of going to church. They can also be used to flirt, primp and even discipline if worn with the correct “hattitude!” It is particularly fun to watch Yolanda’s wardrobe change from her initial baseball cap to the final headgear she wears in the closing number (no spoiler alerts here!)
Bretteney Beverly, Marlette Buchannan, Kristen Natalia and Be Russell make up the rest of the women parts in the production. During the course of the show, each woman gets a chance to show off really impressive vocal chops. Vincent Orduña skillfully picks up the many men parts in the play, moving in range from the church pastor to Yolanda’s brother. The entire cast seems to behaving a wonderful time singing the gospel tunes and recounting anecdotes of African American lives centered around their families and church. Some of the harmony work they did on stage was flat out astounding!
Chris Daigre is responsible for the rousing choreography. Lucia Francine Wiggins is the conductor and keyboard player laying out the tunes backstage, excelling with a fun bluesy, gospel sound. As scenic designer, Mark Lund does really creative work with back wall projections.
The entire project is overseen by Faith Bennett Russell making her Taproot solo directorial debut. In her program notes she observes, “These ladies use their ‘crowns’ to help Yolanda find her way, connect her to community and show her how to truly live. And look good while doing it.” Crowns will be “styling” at the Taproot through April 28.
For more ticket information go to taproottheatre.org or call 206-781-9707. The Taproot Theater is located at 204 N 85th Street in the heart of Greenwood.