Intiman Theatre’s "Black Nativity" Brings the Christmas Story to Life

Having grown up Catholic, the Nativity story always surrounded me. Whether it be through slowly reading the Gospel verses in our advent calendar, picture books with sheep smiling joyfully at a cartoon baby Jesus, or simply seeing the Nativity decorations around my house, the story became a routine part of my holiday season. Over time, it slowly lost its magic for me. It simply seemed ordinary; that is, until I saw Intiman Theatre’s reimagined production of  Black Nativity. This song-play by Langston Hughes combines touching poetry, enthralling dance, and powerful gospel renditions of familiar Christmas carols to bring the Christmas story to life and imbue each audience member with true Christmas spirit.  

When my parents and I first got to Broadway Performance Hall, located in the Fine Arts Building of Seattle Central College, I was meant by a wave of warmth. “Funky Little Drummer Boy” by Sharon Jones & The Dap-Kings played as the ticket sales-woman wished my family and I happy holidays and pointed us towards the cozy waiting room. From there, we entered the intimate theater, where even from the back row, I could clearly see the intricate panels lining the back of the stage. The panels gave the illusion of glowing frames of stained glass, a vibrant mosaic coming together to create a nativity scene. Soon, the house lights began to dim. While I was prepared for beautiful singing and poetry, what first struck me was the dancing included throughout the show. At the start of the show, a group of dancers appeared on stage in a theater of near silence. As they began a series of mesmerizing movements, sounds of their steps echoed into the audience, creating an intimate and energized atmosphere. Similarly, the towering shadows of the dancers were cast onto the walls by the soft lighting, surrounding the audience in the movement and drawing everyone closer. 

The power of movement remained a common thread tied throughout the rest of the show. Whether a scene was calm or peaceful, joyous or rambunctious, the dance numbers choreographed by Vania C. Bynum, founder of VC Bynum Arts & Education, were able to masterfully capture the mood and connect to the audience members in a way that transcended words or sound. Bynum says she utilizes dance as a form of worship, and this worship shone brilliantly through each step, spin, and stretch of the dancers.  These dance numbers not only communicated the simultaneously reverent and celebratory mood, but they also pushed the plot of the story along. One dance that stood out to me was that of the angel. One dancer dressed in a sparkling white and gold gown danced across the stage so lightly that she almost seemed to be floating. Cloth attached to rods that she held in her hands gave the illusion of wings, which she gracefully painted across the stage. While I still struggle to imagine what beauty and reverence the shepherds felt upon seeing an angel, this dance number certainly helped bring me closer to understanding. 

Although I had expected great music from Black Nativity, I was still blown away by the quality and richness of the music in the show. Intiman’s original production of Black Nativity had been directed by the iconic Patrinell Wright, also known as the “First Lady of Gospel”. This had left the revival with giant shoes to fill, which music director Sam Townsend did masterfully by maintaining powerful and classical gospel music, while adding a second act sing-along. This combination highlighted the importance of tradition while bringing in valuable new voices. Incredible singing and live music powered the show, creating the crucial moments of intimacy and celebration needed to bring the story to life. I particularly remember the rendition of “Mary, Did You Know?” in the first act. As women of all ages and statures surrounded the young Mary and the newborn Jesus, I remember a tear running down my cheek. Something about the strong, sweet, and pure voices of the signers paired with the authenticity I saw in each performer’s face filled me with an understanding of the miracle I was seeing portrayed. Just as quickly, lively Gospel renditions of celebratory songs had me smiling ear to ear.

What tied the whole show together for me was the second act, an interactive Christmas sing-along. Actors changed into their own clothes, told their own stories, and sang their own songs; I was brought into the story in a whole new way. I was able to see that the Christmas story wasn’t just a thing of the past, but something alive that these actors continued to bring into the present. As children went on stage to decorate the tree, Mr. Townsend taught lessons about Black church, and both the performers and the audience sang and clapped along, true community was created in the walls of Intiman Theatre. After a long standing ovation, my family left the theater, sharing bright smiles similar to all those around us. 

After the show, I also got an opportunity to talk to the extremely talented Maya Michelle Russell, a 16-year-old singer and spoken word artist who has been in both Black Nativity productions since the 2023 revival. I was interested to learn more about what the overall process was like, what her favorite parts of the show were, and discuss her experience. Read our interview below:

Abby Bernstein: What was it like rehearsing for Black Nativity? 

Maya Michelle Russell: The rehearsal process was a wonderful process to be a part of, especially because I was working with such amazing people like Ms. Valerie Curtis Newton, Mr. Sam Townsend, and Ms. Vania C. Bynum. They were able to pull greatness out of everyone in rehearsals and help us understand the importance of sharing the story of God with others. From day one of rehearsals they turned a good show into an amazing one with only around 13 days of rehearsal. It was inspiring and motivating to be a part of such a special process.

AB: What is your favorite memory from working on this production?

MMR: My favorite memory from working on Black Nativity was during tech rehearsals when we were waiting for lights and sound to figure something out. The musicians started playing gospel music, completely unrelated to the show, and we all just sang along and danced for about 45 minutes. It shows the true spirit and community-oriented nature of not only the show, but the people involved as well. It was a highlight of my experience working on this production, and I am fortunate to say that there were many more memories similar to this one.

AB: What is your favorite part of the show?

MMR: My favorite part of the show is in the 2nd act when Ms. Josephine Howell sings “Have Yourself a Merry Little Christmas.” She is one of the best vocalists I have ever heard, and getting to be around her greatness and presence is a true honor. This is not only my favorite part of the show due to her singing, though, it is also my favorite part due to the spirit that Ms. Josephine brings to the song. She sings with her whole heart and soul and truly pours into everyone around her.

AB: What does this show mean to you?

MMR: This show means everything and more to me. My mom took me to watch Black Nativity when I was a toddler back when the great Ms. Patrinell Wright was the music director. So, when I got the opportunity to be a part of it I was already extremely excited. But, as rehearsals and shows went on I developed an even deeper love for the cast and the show. God truly blessed us with an amazing and talented group of people who have brought so many wonderful things into my life. I don’t think it is possible to describe in words the impact that Black Nativity has had on me, but it has certainly been such a privilege and blessing to be in this production. I thank God for guiding me to this wonderful cast, crew, show, and community.

AB: What do you hope audiences will take away after seeing Black Nativity?

MMR: I hope that audiences will take away a sense of freedom from Black Nativity. What I mean by this is I hope that audiences feel like they can take the authenticity and freedom that they experience during the production with them in their daily lives. I hope that they are able to live their lives being genuinely who they are and being able to express that in any way that they would like as a result of Black Nativity.

Just as Russell had hoped, I left Black Nativity with a newfound sense of freedom. The show helped me realize the value of baring your true emotions with honesty and humility, and the power of honoring old traditions by adding new truths. What’s more, I got to see the Nativity story come to life in front of my eyes in a reinvented way I could have never imagined. I was brought closer to those I shared the theater with, and closer to the true meaning of Christmas. Though the show is over for the year, I highly encourage you to go see it next December. Maybe I’ll even see you there, as I am certain Black Nativity will be a family Christmas tradition for years to come. 

Lead photo by Joe Moore.

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