Arts & Entertainment
 

'Crown' gives candid peek into culture

by Portia-Elaine Gant
The Daily Cougar

On Main Street, nestled between Berry and Holman Streets, lies one of the city's most delightful gems, The Ensemble Theatre. The late George Hawkins founded the magical playhouse that has showcased an array of situations handled by blacks in real life without losing the enchantment of theater. They Sang Christmas Up In Harlem, a remake of Charles Dickens' A Christmas Carol, riveted holiday audiences and offered a timeless tale of the importance of integrity. In addition, the autobiographical feature of the celebrated Endesha Ida Mae Holland, From the Mississippi Delta, proved to be such a success that the run of the play was extended for an extra week.

Crowns, written by Regina Taylor and adapted from the book by Michael Cunningham and Craig Mayberry, is now taking its turn on the stage. The musical starts telling the story of Yolanda and her alter ego, a tough Brooklyn girl whose older brother Teddy is shot. She is sent away to live with Mother Shaw (LaTreva Herdon) in the South where "hattitude" takes precedence over attitude. There, as she learns the importance of hats in the black community, the audience is also given an inside look at the memories of the blacks who have realized the significance of their heritage and culture themselves.

Throughout the play, the ladies change hats as they tell Yolanda stories from different times in their lives. At one point, the focus is on a father (Christopher Wright) who never leaves the house without his sleek fedora. Later it is an exuberant churchgoer in a vibrant orange hat with a slightly floppy brim. Most humorous is the preacher's wife Mable (Shanica McKinney), who wears a classy red hat with a small brim to church and viciously warns other church members not to touch it.

McKinney's performance is most enjoyable as she evokes the most expansive range of emotions among the audience. Her "Hat Queen Rules" are more than hilarious, but the tale of her husband's funeral captivates the attentive and empathetic audience. However, from a vocal perspective, Velma (Loretta Gurnell) is the show's star. Her strong vocal range coupled with her exquisite style is breathtaking. Velma is the obvious rebel of the group, adding her own flair to timeless traditional songs such as "His Eye Is On The Sparrow" as well as her hats, which are always the most trendy. Within moments of each song, Gurnell has the audience members clapping their hands and sometimes singing along to the timeless traditions she offers.

The Ensemble is the only black theater to present the play in a regional setting since its off-Broadway run. Unfortunately, those who witnessed its off-Broadway run might have some qualms with the path director Bebe Wilson took with the show. Yolanda (Jasmine Taylor) seemed to find herself without any business while on stage numerous times and Wanda's (Ebrandia Burton) stories lacked definition. Toward the beginning of the show, while telling a story about her younger years, she expertly slips into a character that is of elementary school age, but she remains stuck there for the duration of the show, detracting from some of her other stories.

As the largest local black theater, they provide the community with an outstanding cultural display. Their mission, "to preserve the African American artistic expression, enlighten, entertain and enrich a diverse community," is certainly achieved with this performance. Ultimately, Crowns is a play about the unwavering strength of black women that enraptures audiences, not necessarily with its actors, but by its direct tie to their own lives.

Crowns

The Ensemble Theater, 3535 Main St.

Playing through May 2

The verdict: Though it's not flawless, Crowns provides great insight into the history of a very visible southern black tradition, and Gurnell's vocal ability makes the play a must-see.
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