Displaying items by tag: Taron Patton

The Driehaus Museum and the African American Museum of Performing Arts (AAMPA) announce the casting for A Nativity Tribute, an adaptation of Langston Hughes' gospel song-play, Black Nativity. Co-directed by AAMPA Executive Director TaRon Patton and Kelvin Rolston, Jr., with choreography by Dereque Whiturs and music by composer Jaret Landon, the joyful production recreates the biblical narrative of Christ using song and dance to embody the struggles of Mary and Joseph. Featuring students from local dance companies and some of Chicago's most prolific gospel voices, A Nativity Tribute uplifts the contributions of Black artists to Chicago arts and culture and celebrates the legacy of Black excellence in Chicago. There will be two performances only of A Nativity Tribute inside the historic Murphy Auditorium at the Driehaus Museum, 50 East Erie Street:  Wednesday and Thursday, December 4-5, at 7pm.  Tickets, priced at $50, are on sale now at driehausmuseum.org.

The cast for A Nativity Tribute features Kelvin Roston, Jr. as Gabriel, Jon Pierce as Michael, Levi Stewart as Haniel, Kalind Haynes as Raphael, Rashawn Thompson as Jermiel, Candace Edwards as Ariel, Quiana McNary as Uriel, Shantina Lowe as Sariphena, and Robin DaSilva as Raquel.

Executive Director of the Driehaus Museum Lisa Key says, "We are thrilled to continue our partnership with the African American Museum of Performing Arts for two special performances of gospel music celebrating the holiday season, when the Museum truly sparkles. AAMPA's meaningful production A Nativity Tribute will touch audiences across Chicago and is exactly the type of programming we hoped for with our expanded museum campus and the magical space of the Murphy Auditorium. We are honored to be long-term partners with AAMPA while they are building their new home."

Patton adds: "I am so excited to present this Chicago holiday favorite again at The Driehaus Museum.  Now it's more important than ever that arts institution begin to create these types of partnerships to ensure our survival in this season of uncertainty for arts and culture."

A Nativity Tribute builds on the history of Black Nativity in Chicago, a holiday favorite that has been performed since 2003 by Congo Square Theater at venues including the Goodman Theatre, the DuSable Museum of African American History, and University of Chicago's Logan Center for the Arts. The production has reached nearly 52, 000 patrons and employed over 623 artists, designers, and dancers of color in its 20+ year history.

ABOUT THE DIRECTORS

TaRon Patton is the Executive Director of the African American Museum of the Performing Arts (AAMPA), an Illinois nonprofit. She served as the executive director of Congo Square Theatre (CST) for four years and has performed at many professional venues including Goodman Theatre and Steppenwolf Theatre. Patton is also the CEO of the production company GLP PRODUCTIONS, INC. As a producer, Patton's credits include Some Sort of Saint (Definition Theater), The Billboard (Northwestern Abbott Theater), N (Greenhouse Theatre), Misty Tanner (Q& A Productions). Patton's directing credits include Some Sort of Saint (Definition Theater), The Billboard (Northwestern Abbott Theater), N (Greenhouse Theatre), Saturday Night, Sunday Morning (Steppenwolf Garage Rep), Bullrusher (Congo Square Theatre), Nativity Tribute (Congo Square Theatre). Acting credits include Your Honor Mayor Byrne (Lookingglass Theater), Meet Vera Stark (Goodman Theatre), Hot L Baltimore (Steppenwolf); The Bluest Eye (Steppenwolf and New Victory), King Hedley II (Congo Square Theatre Company), and Joe Turner's Come and Gone (Goodman Theatre). Patton's television credits include The Chi, Empire, Chicago PD, Chicago Fire, Chicago Med, and A Different World.

Kelvin Rolston, Jr. (Gabriel) is an actor/singer/musician/writer. He is the playwright and performer of Twisted Melodies, a one person show that looks at mental illness through the eyes of late great soul singer and musician, Donny Hathaway. It returns to Chicago in July of 2025 at Northlight Theatre in Skokie IL, directed by Ron OJ Parson and Alexis J Roston. Rolston recently closed East Texas Hot Links at Court Theater Chicago. Some favorite credits include: The Gospel at Colonus (Oedipus), Oedipus Rex (Oedipus), King Hedley II (King Hedley), Five Guys Named Moe (Four-Eyed Moe), Fences (Trinity Repertory Company); Clue (Mercury Theater); The Color Purple (MSMT); The Wiz (Fulton Theatre). Chicagoland: Congo Square, Paramount, Marriott, Goodman, ITC, eta, Writers, Black Ensemble, TimeLine, Northlight, and Steppenwolf. Rolston's television credits include: Chicago Med, Chicago P.D., South Side. Film: Get a Job, Princess Cyd, Breathing Room. Rolston has received awards from the Jeff Awards, four BTA Awards, three Black Excellence Awards, NAMI Award.

ABOUT THE CAST

Robin DaSilva (Raquel) is a multi-award winning actor and singer whose regional credits include Mercury Theater Chicago (Women Of Soul), Porchlight Music Theater (Ain't Misbehavin), Theater at the Center (A Christmas Memory), Theo Ubique (Smokey Joe's Café), NIETF Foundation (Ragtime), Penumbra Theater (Joe Turner's Come and Gone), Mixed Blood Theater (A... My Name Is Alice), Black Ensemble Theatre (Feel Good Music Review, Holiday Extravaganza, The Other Cinderella, Women of Soul, and Mahalia Jackson: Moving Through the Light). For her role in Mahalia, she won the 2019 Joseph Jefferson and the BTAA Awards for Performer in A Revue. As a vocal arranger, she has arranged for many churches, recording artists, commercials, TV shows and musical theater productions. TV credits include T-Mobile's Home for the Holidays Surprise and HBO's Southside. 

Candace Edwards (Ariel) is thrilled to return to A Nativity Tribute after a six-year hiatus. An accomplished performer with over 15 years in stage, film, and television, she brings a deep connection to the music and message of this powerful production. Outside of her work on stage, Edwards is a dedicated flight attendant for United Airlines, a Community Educator with the Alzheimer's Association, and an active member of her church.

Kalinda Haynes (Raphael) KALIND is a name synonymous with soul-stirring melodies and an unwavering commitment to music.  He has toured in Italy, Mexico, the West Indies, and France, on the legendary Apollo stage.  He was selected as one of 20 contestants on BET's acclaimed show, Sunday Best, Season 2. As a top 10 finalist, his memorable performances and unwavering faith left a lasting impression, earning him a place as one of the show's All Stars, returning to the show in Season 8. Haynes believes that his purpose in life is to minister God's Word through song.  

Shantina Lynet Lowe (Sariphena) is a versatile 29-year-old singer, songwriter, performer, arranger, actress, musical director, vocal coach, and public speaking coach. She is a full-time music teacher and choir director and holds BA in Theater Performance and Film. Lowe has participated in over 10 live theatre productions and 50+ shows in Chicago as a solo artist. She performs with her family group, The Lowe Family, and her sister group, The Lowe Sisters, known for their viral video "What Drawers Should I Wear Today?" which has millions of views online. In 2016, she released her first EP, #Stuvibes, followed by two more albums and several singles. She has also collaborated with artists like Kanye West, Carrie Underwood, and performed at the 2023 Grammy Awards with Lizzo. Lowe aims to inspire creatives to share their art confidently and leave a unique mark on the world.

Qiana C. McNary (Uriel) is an actor in Chicago with credits including The Other Cinderella (The Queen), A Taste of Soul (Chef Qiana; Jeff Nominated), The Real Housewives of Motown (Cliniece Stubbs), Crowns (Mabel), Hairspray (Motormouth), The Little Mermaid (Ursula), Caroline or Change (Caroline) and Sister Act (Deloris). OPERA: Fannie Lou Hamer (Fannie), Harriet Tubman (Rittia), Madam Butterfly (Cio-Cio-San), Saul and the Witch of Endor (The Witch). On regional stages, McNary has performed inGhost the Musical (Louise/Oda Mae U/S) and Ain't Misbehavin' (Armelia). She also sings with her band, The McNary Experience.

Jon Pierce (Michael) is a recording artist, author, and activist. Pierce is deeply embedded in Chicago's diverse soul and theatre scenes, and has toured and performed throughout Germany, Japan, and the UK. His latest project is his EP Sonic Journey, a vibrant and up-tempo dance collection produced by Chicago-based Shawn Hibbler. He is also the author of the affirmation series Say It Until You Mean It, a collection of thoughts and affirmations.

Levi Stewart (Haniel) is a Chicago actor, singer, and songwriter. Has had the privilege of performing in shows like the Black Renaissance, Sanctify, A Piece of My Soul, The Last Dancer Standing, and numerous appearances in the Black Nativity with Congo Square Theater. 

Rashawn Thompson (Jermiel) Born and raised in Chicago, Thompson is a member of The Black Ensemble Theater, where he has become a standout in Chicago's theater scene. Thompson has performed in The Teddy Pendergrass Story, which earned him a Black Theater Alliance Award (BTAA) for his portrayal of the legendary R&B singer. He starred as Marvin Gaye in The Marvin Gaye Story, a role that earned him a Jeff Award nomination. Thompson was featured in a Super Bowl commercial with Jennifer Hudson. He has also performed at the National Black Theatre Festival and had the honor of singing for icons like Teddy Pendergrass, Dionne Warwick, Angela Bassett, and Illinois Governor Pat Quinn.

ABOUT THE PRODUCTION TEAM

Jaret Landon (Music Director) is a composer/arranger and music educator. He has composed and arranged music for film, musicals, and recorded albums. Theater credits include: Nativity and Sanctified  (Congo Square Theatre); Lady Day at Emerson's Bar and Grill and Ain't Misbehavin (Porchlight Music Theatre); The Gospel of Lovingkindness (Victory Gardens Theatre); Crowns (Goodman Theatre); Gem of The Ocean (Court Theater); Jabari Dreams of Freedom (Chicago Children's Theater); The Christians (Steppenwolf Theater); Black Odyssey (Denver Theatre Center, Denver CO.); First Wives Club (Pre-Broadway). Landon was also Assistant Orchestrator for American Idol seasons 14 and 15.  

Dereque Whiturs (Choreographer) is a native of Dallas, Texas, who has trained with Alvin Ailey, Ulysses Dove Donald McKayle, Donald Byrd, Talley Beatty, and George Faison. He was a principal dancer with Alvin Ailey for 13 years and performed as Joseph in Mike Malone's Black Nativity and Congo Square for more than 10 years.  He was a principal dancer with Deeply Rooted Dance Company and currently teaches at Deeply Rooted Dance Company and is an instructor at Chicago High School for the Arts. Whiturs has extensive experience in dance education from Dallas to Europe. 

TICKET INFORMATION
A Nativity Tribute takes place at the Driehaus Museum, 50 East Erie, Wednesday and Thursday evenings, December 4-5, 2024, 7-8:30pm. Tickets are $50 (general admission) and $35 for students with ID. Tickets are on sale now HERE.

ABOUT THE AFRICAN AMERICAN MUSEUM OF PERFORMING ARTS
The African American Museum of Performing Arts (AAMPA) was founded in 2019 by award-winning television and stage actor and director Harry J. Lennix and TaRon Patton. AAMPA's mission is to study, memorialize, and present works that celebrate the contributions of Black performance to arts and culture from the perspective of African American performing artists globally. AAMPA's ultimate objective is to become a nationally recognized center for African American history and tradition within the performing arts. AAMPA was founded in response to a lack of resources for African American artists of all disciplines to gather, to learn from their ancestors and each other, and to amplify their significant contributions to the performing arts in an environment that centers African American voices. AAMPA's partnership with the Driehaus Museum began in December 2023 when the organizations produced a Kwanzaa Celebration, followed by a one-woman show entitled Tammy McCann Presents: Mahalia Jackson at Carnegie Hall. 

ABOUT THE DRIEHAUS MUSEUM
The Driehaus Museum engages and inspires the global community through exploration and ongoing conversations in art, architecture, and design of the late nineteenth and early twentieth centuries. Its permanent collection and temporary exhibitions are presented in an immersive experience within the restored Nickerson Mansion, completed in 1883, at the height of the Gilded Age, and the Murphy Auditorium, built in 1926. The Museum's collection reflects and is inspired by the collecting interests, vision, and focus of its founder, the late Richard H. Driehaus. For more information, visit driehausmuseum.org and connect with the Museum on Facebook, Twitter, and Instagram.

After an unexpected delay due to Covid-19, a most anticipated musical has finally opened at the Court Theatre. “The Gospel At Colonus” is the second installment of Sophocles’ Theban Trilogy. The first, “Oedipus Rex” was produced by Court Theatre during the 2019/2020 season to rave reviews. The Third, “Antigone” has a February 2024 production date. We dry our eyes and thank God this gospel is finally proclaimed. It is truly a religious experience.

Like the Black church today, the theater played a crucial role in fostering a sense of community among Athenians in 429 BC. Stories in the Old and New Testaments bear striking similarities to Greek myths. David and Achilles have very similar qualities and storylines. It’s possible that James and John of the New Testament is based on Castor and Pollux, the sons of Zeus, God of Thunder. In Mark 3:17, Jesus named James and John “Sons of Thunder” Coincidence, maybe. It is evident why Lee Breuer along with music composer Bob Telson would adapt “Oedipus At Colonus” into a Pentecostal revival meeting, Gospel and Greek myths go hand in hand, they both tell great stories

The set for “Colonus” is a work of acoustical ingenuity by Scenic Designer John Culbert and Sound Designer Sarah Ramos. The band lead by Mahmoud Khan is raised above the main action. There are no walls for sound to bounce off. You have a bare bones frame of a cathedral, or is it the groves of the Gods? You be the judge. There is a clearing center stage with multi levels, on the top level is an unshaped stone. The music from the 5 piece band is excellent and comes through loud and clear to the mic éd up cast. The costumes by Raquel Adorno gave Athenian village down to the sandals.

Directors Charles Newell and Mark J.P. Hood with Associate Director Taron Patton has curated the best voices in gospel music available in the Chicagoland area. Every single member of the cast is a strong singer. Music Director Hood has updated the feel of the music. Where Bob Telson was inspired by gospel singers of his time, Hood found inspiration in today’s gospel artist like Donald Lawrence, Ricky Dillard and Kirk Franklin. The musical arrangements were fresh and exciting. I heard the most complicated, beautiful vocalizing I have ever heard on stage. I thought my guest was going to stand up and do a holy dance.. she came close. Thanks to the movement design by Cristin Carole, the chorus was alive on stage instead of standing on risers like a choir.

It was especially uplifting to see women in this male dominant production as more than placeholders. Aeriel Williams as Antigone had a strong personality and it showed. Ariana Burks was beautiful in the role of Ismene. Shari Addison’s (who’s daughter is also in this production) sang for the heavens to open. Mark Spates Smith as the preacher/ King Theseus kept the audience involved and shouting “Amen”. Juwon Tyrel Perry and Eric A. Lewis harmonies had the crowd yelling. Timothy Edward Kane as Creon was an interesting and bold move. The male voice carrying the greatest load was Oedipus, and in the hands of Kelvin Roston Jr. we are blessed. Roston bellows one minute and the next he is sotto voce. The vocal gymnastics all these singers exhibit is truly amazing.

“The Gospel at Colonus” is filled with Christian values, as well as Christian music. Oedipus seeking refuge in his old age receives sympathy and grace for his plight. He is forgiven and absolved of his sins. Before his death, he is born anew. He is transformed from a blight on the city of Thebes to a blessing for Athens. Oedipus was taken without lamentations, suffering or pain. Let the weeping cease, he was blessed. It is our Christian hope we can all be so blessed. Bless yourself and see this show.

HIGHLY RECOMMENDED

When: Through June 18

Where: Court Theatre 5535 S. Ellis Avenue

Running time: 90 minutes

Tickets: $40. - $82.

Contact: www.courttheatre.org

We all know that certain words are verboten in polite society - some because they are coarse, like expletives; others because they are demeaning or belittling, or off-limits.

One of these – the N-word – is the hook that triggers the action in a new play, called, simply, ‘N,’ at the Greenhouse Theater Center. Smoothly directed by TaRon Patton, the story revolves around an ambitious young actor, Eddy (Ryan Smetana) who has been hired as a live-in aid for the 70-year-old Mrs. Page (Stacie Doublin).

Immediately we are intrigued by Mrs. Page, who is a character rarely (if ever) portrayed, an African-American Goldwater Republican. Eddy, who is white, is all about proper liberal social behavior, in visible arenas, like recycling, and bringing his own shopping bags to the grocery store. He is also rather a narcissist, and the consummate guy with his heart-on-his-sleeve.

Mrs. Page does not suffer his foolishness gladly, and has reluctantly accepted his arrival in her home. She quickly sets, and carefully maintains, a dividing line to ward off any emotional intimacy with this intruder. But Eddy is young, and crashes and burns a couple times – expecting and eventually getting emotional support, though its dispensed sparingly by Mrs. Page.

Things all come to a head when Eddy gets his career break with a major name theater production. But then, a script rewrite inserts the ‘N’ word in the show, and he resigns the role. There are stormy moments for both parties.

And Mrs. Page, who earns a living as a stock trader and investment advisor, makes a compelling case for her support - as an African-American – for conservative 1960s-era Republican Barry Goldwater, who staunchly defended the right of the individual. “Contrary to popular opinion,” Mrs. Page tells Eddy, “you are a minority – of one.”  

Playwright David Alex shows canny skillfulness in the craftsmanship of ‘N.’ For example, as the play opens, Eddy is auditioning with lines from Oedipus concerning fate versus free will, done in a Southern dialect - foreshadowing the discussions ahead. 

Still the first act needs polishing: lines by Mrs. Page like, “Your employment includes room and board,” and “Understand it is not by my choice that you are employed here,” seem less like dialog than scene-setting pronouncements. At two different points, in a darkened room, a phone call is overheard by an unseen third party – that seems contrived. And Eddy behaves and speaks with unnatural familiarity as a new arrival in Mrs.Page's home. Likewise for Mrs. Page, though she is rough, not friendly like Eddy.

There seem to be some distracting plot points, e.g., Mrs. Page is an avid astrologist, but has been housebound since one of her predictions led to tragedy. And she cooks Jewish dishes for a neighbor.

The second act, though, completely redeems things – suggesting that first half may be in development still. We really see the characters come into their own. Stacie Doublin is powerful in the later dialog. And a final, doleful scene performed in silence by Eddy and Mrs. Page is moving and strongly affecting.

Also noteworthy is the performance of Reginald Hemphill as Eddy’s buddy DeShawn, who commands the stage for his brief time on it. Speaking also on word usage, “You are not a ‘brother,’” DeShawn, who is African-American, advises Eddy. “This may come as a shock to your white liberal sensibilities, but you are not black!”

Alex, who is a fixture in Chicago theater, has written more than a dozen other scripts, including Eroica at Red Twist Theatre, and Ends, which won an African-American Theater Festival Award at the University of Louisville. ‘N,’ thought provoking and lively, comes recommended. ‘N’ runs through November 17 at Greenhouse Theatre in Chicago.