Actress Deana Butler-Rahming in the role of Mother Shaw raises the roof in "Crowns." (Photo by Gregory F. Reed)
“Uneasy lies the head that wears the crown,” William Shakespeare wrote in “Henry IV, Part 2.”
Perhaps. But the wearers of a different kind of crown feel good when they don it. Just ask them. Or, better yet, come experience “Crowns,” by Regina Taylor. This prize-winning piece is one of the most-produced stage works in the U.S. and has captured four Helen Hayes Awards.
“Crowns,” which Taylor based on a similarly-titled book by Michael Cunningham and Craig Marberry, is receiving an invigorating production at the Marshall L. Davis Sr. African Heritage Cultural Arts Center in Miami’s Liberty City neighborhood. The roughly one-hour- and 35-minute show, with no intermission, runs through Sunday, March 23.
The production, which features energetic direction by Carey Brianna Hart, stars charismatic performers Kasy Thompson-Galman, Sarah Gracel, Treva Burke-Harrell, Nikki Floyd, Deana Butler-Rahming, Miriam King, and John Hamilton.
The performers, with live accompaniment by pianist Kendall Friday and percussionist Akilah Shepard, possess stunning voices that are clear, strong, and expressive. It is a joy to listen to them. In fact, don't be surprised if you find yourself singing, clapping, and foot-stomping along.
Carbonell award winning actress Sarah Gracel in the role of Velma touches the hearts of the audience with her rendition of the spiritual "His Eye is On The Sparrow” while actress Kasy Thompson-Galman looks on in the role of Wanda in "Crowns." (Photo by Gregory F. Reed)
While “Crowns” is not quite a traditional book musical, it is a play with music that blends gospel, poetry, and dance. You will hear familiar songs such as “Oh When The Saints Go Marching In,” “Take My Life and Let it Be,” “Mary, Don’t You Weep,” “I’ve Got Joy Like a Fountain,” “I Gotta Crown,” “Marching to Zion,” and “Oh Lord, I’m Waitin On You.”
“Crowns” is a stirring and soulful piece that is not merely a fashion show. Of course, there is nothing wrong with that form of entertainment. But Taylor’s work offers a richer experience. More specifically, it uses the hats that many African American women wear to church as a springboard to create a moving and relatable coming-of-age tale. It proves that it is never too late to get in touch with your roots and let them move you or even transform you.
Early on in “Crowns,” which touches on themes such as faith, family, identity, and heritage, we meet Yolanda. She is a Brooklyn-born girl whose immediate family sends her to live with relatives in South Carolina after her brother is murdered. In the South, Yolanda encounters a group of African American women who wear hats (the titular “Crowns”) to church and perhaps other places as more than a fashion statement. Indeed, they view their hats as symbols of cultural heritage, family history, and personal identity.
When the tale begins, Yolanda is an independent young woman unaware about much of her heritage. But as the story progresses, she gains a deeper appreciation for her roots and the African American tradition of church hats. By the end, Yolanda appears to be happy and peaceful with her newfound knowledge about her people’s past.
Sarah Gracel in the role of Velma explains the meaning of hat wearing to church to actress Miriam King in the role of Yolanda in "Crowns." (Photo by Gregory F. Reed)
Unfortunately, at times it is hard to hear the performers narrations over the music playing. But when the music is not drowning them out, James Mungin II’s sound design allows us to clearly hear what the performers are saying.
As a group, the performers are convincing as a close-knit, reverent community of women who are talented and fervent in their beliefs. The show does not feature a fully-formed plot. Rather, the characters relate stories of their experiences with hats and how much these head coverings have meant to them throughout their life.
“Hats are like people,” one of the characters tells us. “Sometimes they reveal and sometimes they conceal.”
During the reviewed performance, some audience members laughed following the line. But you sensed they were laughs of recognition rather than laughter following a funny remark.
Taylor’s script also includes humor and vivid writing which paint mental pictures. In addition, the show teaches us things, although the piece never feels like a lecture. But you may never view a hat in the same way again.
Actor John Hamilton in the role of The Man rouses the audience with an uplifting sermon in "Crowns" while pianist Kendall "King" Friday looks on. (Photo by Gregory F. Reed)
The women wear hats because they “are going to meet the king,” we learn. And rules even exist regarding hats. “They cannot be wider than your shoulders” and “You don’t want to be seen wearing the same hat twice and don’t even think about borrowing one!”
The show also poignantly describes a relationship one of the women shares with her father. Chances are, you will need tissues after learning that a hat brought them even closer together.
In the beginning, with strands of dark hair extending down to about her waist, clad in jeans and a white shirt, and dark headphones on her neck, Miriam King’s Yolanda looks and sounds like a rebellious, frustrated teen. She flawlessly raps right after the show begins.
"Brooklyn New York, that’s where I was born. Brooklyn New York that’s where I belong. You can be an individual there. Do what you want and nobody care."
The cast of Crowns bring a joyous praise and worship, from left, Treva Burke-Harrell (Jeanette), John Hamilton (The Man), Sarah Gracel (Velma), Deana Butler-Rahming (Mother Shaw), Miriam King (Yolanda), Nikki Floyd (Mabel), Kasy Thompson-Galman (Wanda) and in the rear percussionist, Akilah Shephard.
At first, Yolanda struggles to fit in down south (we never specifically learn why her mother sent her to her grandma’s in South Carolina). But Yolanda listens to her grandmother and the other women, and by the end, she seems truly happy and at peace.
For a story about a young woman going back to her roots, scenic designer Michael “Mik” Miles has created a symbolic set of what resembles a tree with branches extending almost into the audience seating area. In addition, hats dangle from the ceiling. It is almost as though they are pieces of fruit suspended in the air not far from the tree.
The production also includes appropriate projections, such as depictions of birds during a graceful song. You want to sing and sway with the performers during the number.
Lighting designer Quanikqua “Q” Bradshaw-Bryant includes appropriate hues and knows when to brighten and dim the lighting. And Keesha Morisma’s costumes help define the characters.
It is admirable that a production of “Crowns” is running at a Miami theater during the same time that “Fiddler on the Roof” is playing at another live venue in the Magic City (Zoetic Stage Company, www.zoeticstage.org). Certainly, both shows highlight traditions of minority groups. And soon, Miami New Drama (www.miaminewdrama.org,) will open its world premiere production of a new play titled “Birthright.”
Such stories about minority groups are always welcome. But that is especially the case during a time when division and intolerance are plaguing society and the powers that be are trying to silence creative voices through censorship.
The cast of "Crowns" absorbs a moving sermon led by actor John Hamilton (The Man). Cast members include, from left: Pianist Kendall "King" Friday, Kasy Thompson-Galman (Wanda), Sarah Gracel (Velma), Treva Burke-Harrell (Jeanette), Nikki Floyd (Mabel), Deana Butler-Rahming (Mother Shaw), and standing Miriam King (Yolanda). (Photo by Gregory F. Reed)
If You Go
- What: “Crowns,” by Regina Taylor.
- When: Through Sunday, March 23. Remaining performances are at 7:30 p.m. Friday and Saturday, 3 p.m. Sunday.
- Where: Marshall L. Davis African Heritage Cultural Arts Center, 6161 N.W. 22nd Ave. in Miami.
- Tickets: Call (305) 638-6771 or go to www.ahcacmiami.org.
