Weathervane’s ‘The Amen Corner’ is a complex study of life and religion
The first thing you notice after being seated in the Weathervane Playhouse Theatre for the performance of James Baldwin’s “The Amen Corner” is the complexity of the stage set designed by Richard Morris Jr. It is a multi-tiered collection of an interconnecting set of stairs and rooms that are intriguing in their design.
At top left is the chapel where the congregation meets to worship with its requisite piano, folding metal chairs and stand up pulpit. Midway down the stairs and to the right is a living quarters with a simple bed, wooden chair and closet. Following the stairs to ground level is the well appointed kitchen (with its new frigidaire ice box), sparkly bright yellow and chrome chairs and linoleum topped table in front of the porcelain sink, stove and oven combo which has a tin of Kafee Hag decaffeinated coffee on the stove shelf. To the left of the kitchen area is the entrance to the chapel with hidden stairs climbing to the chapel. In a word it is 50s chic.
Equally complex is the nature of the play with its tantalizing balance of sermon, prayer and hymns set against the poverty filled realities of life in Harlem in the 50s. The play was written in 1954 after Actress Juanita Moore asked Marlon Brando to loan her friend James Baldwin $75 to write his first work for the stage “The Amen Corner”. It took 29 years to inspire a short-lived Broadway musical adaptation under the title “Amen Corner” but in 1987 was the first black-produced and black-directed play to premier in London’s West End. It has since had numerous revivals and is a popular vehicle for community theaters across America.
Margaret Alexander (Shaneen Harris) has been the hard working pastor to her small congregation for ten years. She is assisted by her sister Odessa (Marva Kay Jones) and Son David (Beloved Obeng), who plays piano for the services. Along with being pastor, Margaret cleans houses in order to get by and to pay for her son’s music school enrollment.
It begins with a stirring hymn as the congregation has gathered. Pastor Alexander launches into a fiery sermon pointing out the perceived sins of her assembly that includes driving a liquor truck, using tobacco, reading comic books during service, profanity, gossiping, drinking and coveting. The sermon leaves everyone in a stage of confusion as they thought they were a righteous bunch.
After the service, Margaret and Odessa are joined in the kitchen by Brother Boxer (Derwin Rowser) and his wife (Jerald Lynn Beard) and Sister Moore (Charlene DeJournett). Margaret announces that she will be traveling to Philadelphia for a week to help a troubled congregation. Her long-estranged husband Luke (Michael D. Fisher) arrives and after a heated argument collapses from illness and is taken to the upstairs room. Margaret wants her son, David, to come with her to Philadelphia but he refuses stating that he has “school commitments” when in fact he has been seen by members of the congregation sneaking out to play jazz clubs, been seen smoking, drinking and in the company of women of questionable character.
It soon comes out that it was Margaret who left a dysfunctional Luke to pursue a religious life after losing a still born child. When Margaret returns the group has turned against her with busy body Sister Moore leading the charge with the help of the Boxers. Like sheep following a new shepherd Brother Washington (Brandon Alexander-Smith), Sister Rice (Valecia Pickett), Sister Douglas (Rosemary Fitzpatrick), Sister Sally (Carmen Lane) and Deacon G (Kevin Gilbaldi) fall into line believing the charges of fiscal misappropriation and Margaret’s out of control family life even though everything is explained but all for naught. In the mean time, Margaret consuls a grief stricken Ida Jackson (Amira Al Amin) who has lost a second baby.
Meanwhile, David seeks out his father who was a prominent jazz trombone player for many years but his alcohol, drug and tobacco use as well as woman chasing has finally caught up with him as he is lying there dying. After conversation with his father who waxes lyrical about his life on the road, David decides to join a band set to tour and in spite of his mother’s wishes leaves the household after showing up intoxicated on an early Sunday morning.
Margaret confronts Luke and berates him for convincing David to leave but Luke tells her that David is grown and needs to make up his own mind. They argue and Margaret leaves. She later returns as Luke is near death and the two admit their undying love for each other as he passes during a poignant scene.
In short order, Margaret has lost her son, ex-husband and congregation all because she put her religion before all else. It is then that she comes to the realization that to love and serve the Lord she needed to love all of his children in spite of their faults and to suffer as well as rejoice with them without counting the cost.
As for this production, it is not too bad. The singing is spirited, exciting and stirring although there are some off notes in the solos. As for the acting, this is community theater so an appreciable amount of flubbed lines and miscues crop up from time to time but it does not diminish the broader scope of the play.
Shaneen Harris as Margaret is superb as the fire and brimstone preacher with a troubled past and even more troubling future. Marva Kay Jones as Sister Odessa is well suited as Margaret’s family support but is a bit too soft spoken. Charlene DeJournett as the busy body Sister Moore is the epitome of virtue (pointing out numerous times her virgin status) while leading the gossip mill to oust their religious leader. The tag team pair of Derwin Rowser as Brother Boxer and Jerald Lynn Beard as Sister Boxer are the comic relief with his “man is king of his castle” attitude. Beloved Obeng as David Alexander is superb as the searching David who is looking for a better life. Lastly, Michael D. Fisher as Luke does quite well as the dying ex-husband. This is a three act play with two intermissions lasting well into three hours so I would suggest you move around a bit as it is a bit of a long sit.
Sometimes theater becomes much more than an entertainment enterprise. There are times such as this when it becomes a rousing sacred experience with a strong life lesson thrown in for good measure. Buy a ticket and be swept away. Somebody say Amen.
The Weathervane Playhouse production of “The Amen Corner” will be on stage at 1301 Weathervane Lane, Akron, Ohio through January 26, 2025. for more information and to purchase tickets go to http:www.weathervaneplayhouse.com or call (330) 836-2626.
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