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Also this issue: Equal Movement Rights Razzle Dazzle Ghost World Lights, Camera, Inaction |
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April 18-24, 2002
theater
Lazarus, UnstonedThrough April 28, Freedom Theatre, 1346 N. Broad St., 215-765-2793
Lazarus, Unstoned, now playing at Freedom Theatre, is not billed as a companion piece to Black Nativity, but one senses that that’s how it evolved. Nativity, of course, is a Freedom tradition, revived every Christmas season, when the story of Jesus’ birth has special aptness.
It would be equally appropriate at Easter time to stage a theater piece that tells the story of the resurrection. But Walter Dallas, who conceived and directed Lazarus, has provocatively chosen another related story -- the resurrection of Lazarus of Bethania, one of Christ's miracles. Derived from the New Testament (specifically from John), the story resonates the life of Jesus (the title poetically refers to rolling away the stone that closes Lazarus' tomb), but poses interesting theological questions of its own: Christ waited until Lazarus was dead to visit the family -- why? And why was Lazarus called three times before he would return from the dead?
I suspect that audiences familiar with the biblical story will have no trouble understanding the details, but I did, a bit. Sometimes Lazarus' book rambles, though I enjoyed the complicated and sometimes comical tone, as in the celebratory family scene that occurs early in the second act -- with so much going on, why would anyone want to go back to earth?
As in Black Nativity, the spoken dialogue carries only some of the narrative weight. The greater emphasis is on tableaux, and, of course, music and dance. In these areas, Lazarus is always on firm ground. The staging by Dallas and his design team (scenery by Nick Embree, lighting by Curtis Hodge, costumes by Andre Harrington) is austere and handsome, regularly delivering some powerful images. Patricia Hodges' stylish choreography draws cleverly from worlds as diverse as Martha Graham and street-corner hip-hop, and it's energetically performed.
The greatest moments, though, are musical ones. Freedom has assembled a huge ensemble that is also hugely talented. Among so many fine artists, let me single out three: Joilet Harris (as Lazarus' mother), Glenn Townsend (as Deacon Aaron) and, especially, Amy Dean (as Lazarus' sister, Mary). Indeed, Dean's mesmerizing singing of "Were You There?" -- staged against a stark crucifixion scene -- is the show's most moving moment.
As with Black Nativity, Lazarus could develop over time, each year acquiring new layers. There's an irony here, though -- Freedom Theatre is facing very significant financial problems, and until just days ago appeared on the brink of closing. The latest news seems more encouraging. Let's cross our fingers -- both this show and the company deserve a long and healthy life. I urge you this season to support the fine work on stage at Freedom.
