The Gospel at Colonus (Play)

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    Theater to Stream: Morgan Freeman in ‘Gospel at Colonus’ and More

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    Can’t catch the live revival of this retelling of “Oedipus at Colonus”? Stream a version with Freeman and Robert Earl Jones, or four more stage-related shows.‘The Gospel at Colonus’Stream it on YouTube.“The Gospel of Colonus” has built a fervent following over the past four decades or so — its number “How Shall I See You Through My Tears?” even popped up in the cult-favorite movie “Camp” — so expectations are running high for the new revival at Little Island in Manhattan (through July 26). Those not in New York or who couldn’t get a ticket to Shayok Misha Chowdhury’s new staging can check out a production from the American Music Theater Festival in Philadelphia, from 1985, that’s streaming on YouTube. This superlative take on Lee Breuer and Bob Telson’s gospel retelling of Sophocles’ tragedy of Oedipus boasts a powerhouse cast, including Morgan Freeman, Jevetta Steele and Robert Earl Jones (James’s father), who went on to Broadway with the show three years later. The score, which features some of the funkiest, most rousing numbers ever heard in a musical, surges to vivid life. Tip: Blast this at full volume.‘Frozen: The Hit Broadway Musical’Stream it on Disney+.The stage version of the animated megahit movie “Frozen” played just two years on Broadway (a short spell by Disney standards), but this newly available capture of the West End production may well kick-start renewed interest in the United States. For the stage version, Kristen Anderson-Lopez and Robert Lopez expanded their score with a dozen new songs — my favorite is the catchy duet “What Do You Know About Love?” between Anna (Laura Dawkes) and Kristoff (Jammy Kasongo). The movie and the show share a bone structure, but they are different animals, with the show able to spend more time on the complicated bond between the sisters, Anna and Elsa (an excellent Samantha Barks). Michael Grandage’s staging captures the story’s supernatural side well, and, let’s face it: We’re all going to watch Elsa’s eye-popping costume change during “Let It Go” a million times, wondering how they pulled it off.Krista Apple in “A Summer Day” by Jon Fosse.Johanna Austin, AustinArt.org‘A Summer Day’Stream it from the Wilma Theater.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘The Gospel at Colonus’ Review: Singing Hallelujah on the Hudson

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      In an open-air revival on Little Island in Manhattan, Lee Breuer and Bob Telson’s musically sumptuous play follows Oedipus at the end of his life.Back at the start of this century, Tom Stoppard raised some eyebrows with the copious program notes theatergoers received at his brainy Broadway play “The Invention of Love.” The Times review advised reading them, as context for understanding the performance, “before the curtain goes up.”Audience members traipsing onto Little Island in Manhattan for the handsome revival of Lee Breuer and Bob Telson’s “The Gospel at Colonus” don’t get anything of the kind, but it would have been a help. An aurally sumptuous quasi-Passion play that sings hallelujah to the heavens in the island’s open-air amphitheater, the show retells an ancient Greek drama through the prism of a Black Pentecostal church service.“Welcome, brothers and sisters,” the Preacher (Stephanie Berry) says at the beginning, with the Hudson River glinting as a backdrop in lieu of an upstage wall. “I take as my text this evening the Book of Oedipus.”It is a clever line. But while a pastor might be able to presume a congregation’s familiarity with a book of the Bible, it is riskier to count on a crowd knowing Sophocles’ drama “Oedipus at Colonus.” Breuer, the great downtown experimentalist who died in 2021, was all about risk. Still, let’s recap, shall we?In “Oedipus at Colonus,” Oedipus is old, infamous and exiled from Thebes, where he once was king. His life has been a litany of scandals, which you might recall from another of Sophocles’ Theban tragedies, “Oedipus Rex”: Abandoned as an infant, he did not know his parents, so when he later killed his father in a fight, he didn’t realize who it was, and when he married his mother and had children with her, he likewise had no idea. After learning the truth, he gouged his eyes out.Now, in his wanderings, his beloved daughter Antigone is his indispensable guide. Upon their arrival at Colonus, Theseus, the king of Athens, takes pity and offers them sanctuary.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Surprising Presence in ‘The Gospel at Colonus’

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      Little Island’s revival of “The Gospel at Colonus” brings together a powerhouse ensemble of Black artists to tell a story of shame, exile and grace. At its center: the gospel singer and pastor Kim Burrell, who came under fire nine years ago after a sermon surfaced online in which she condemned homosexuality. Now, in her traditional theatrical debut, Burrell joins a production that asks whether redemption is possible.“The Gospel at Colonus,” directed by Shayok Misha Chowdhury, is a joyous fusion of Greek tragedy and gospel music. This is the show’s first New York production not led by its writers, the composer Bob Telson and Lee Breuer, a founder of the experimental theater group Mabou Mines. The musical, first produced at the Brooklyn Academy of Music in 1983 and a finalist for the Pulitzer Prize in 1985, uses the melodic language of a Black Pentecostal church service to retell the story of Oedipus, the king of Thebes who unwittingly killed his father and married his mother, then gouged out his eyes in shame.The jazz musician Frank Senior, left, and the bass-baritone Davóne Tines. “The Gospel at Colonus,” directed by Shayok Misha Chowdhury, is a joyous fusion of Greek tragedy and gospel music.Yuvraj Khanna for The New York TimesThe original production starred Morgan Freeman as the pastor who tells Oedipus’ story and the Five Blind Boys of Alabama as the singers who give voice to his pain. Now, Chowdhury has assembled a multitalented cast: the R&B singer-songwriter serpentwithfeet; the actors and singers Stephanie Berry, Ayana George Jackson and Jon-Michael Reese; and, sharing Oedipus’s singing parts, the operatic bass-baritone Davóne Tines and the jazz musician Frank Senior. Burrell appears as Theseus, the king who offers Oedipus refuge at the end of his life.Chowdhury, a Pulitzer-nominated playwright, studied and later taught about spirituals and other religious music at Stanford. He said he assembled this cast because of their voices. “There’s enormous sonic diversity under the umbrella of Black sacred music,” he wrote in an email, “and in gathering together a team for this production, I wanted to highlight that range of sounds and textures.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Lee Breuer, Adventurous Theater Director, Dies at 83

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      AdvertisementContinue reading the main storySupported byContinue reading the main storyLee Breuer, Adventurous Theater Director, Dies at 83One of the founders of Mabou Mines, he reveled in being an outsider even when his celebrated “The Gospel at Colonus” reached Broadway.Lee Breuer, the director of “Peter and Wendy,” in 1997 with two of the puppets featured in that production.Credit…Suzanne DeChillo/The New York TimesPublished More