A Gospel Song

That’s what Psalms 100 says — and that’s what “Black Nativity” does.

Trinity Entertainment Group’s second annual production of poet and playwright Langston Hughes’ self-described “gospel song play” opens a three-performance run tonight at Cashman Theatre.

At a recent rehearsal, cast members blend their voices in soaring harmony, proclaiming “Early in the morning, our song shall rise to thee …”

Costumed in richly patterned African fabrics, pulsating drums setting a syncopated beat, the performers run through a number as director Robert Connor, vocal director James Smith and choreographer Dawn Axam observe.

“All rise … all rise … all rise!” the ensemble sings, making a joyful noise indeed.

But it’s only one piece in the play’s musical mosaic, which provides a cross-section of musical styles, from early spirituals to contemporary gospel, Connor explains.

“One of the things that’s really profound about this piece,” he says, is the scope of the music — a wider range of black music than radio and videos generally present.

“There’s a greater, richer wealth of music out there that rarely gets attention,” Connor says.

The dances also reflect that diversity, Axam says, citing African and modern styles in both acts, augmented by jazz dance in the second act.

The play’s 34-member cast includes “some phenomenal singers,” Connor notes, including Ken Young, Neil Taffe, Toni Morgan, plus local gospel artists Ken Gober and Shonica Murray, along with Atlanta vocalist Andrea Connor.

“Some are professional background singers,” he points out, among them four of Gladys Knight’s backup singers.

The show’s dancers, meanwhile, include a member of Cirque du Soleil’s “O” troupe at Bellagio. (Various “Black Nativity” cast members have worked with a wide range of notable performers, from Alicia Keys to Kanye West, Michael Bublé to Quincy Jones.)

Connor and Axam, who’s based in Atlanta, have several collaborations to their credit, including Trinity’s first “Black Nativity” production, presented last year at the College of Southern Nevada’s Nicholas J. Horn Theatre.

Staging this year’s show at the much larger Cashman Theatre “is truly a walk in faith,” Connor says.

But Las Vegas isn’t the only city to experience “Black Nativity” this Christmas season.

A new adaptation of Hughes’ original, which opened on Broadway in December 1961, recently opened off-Broadway.

“Black Nativity’s” first act, “The Child Is Born,” recounts in song the story of Mary and Joseph’s journey to Bethlehem and the birth of Jesus, Connor explains.

“A lot of the first act features music that was part of the original ‘Black Nativity,’ ” he says.

The second act, “The Word Is Spread,” moves the tale to a modern-day Las Vegas church populated by testifying deacons, sanctified ladies and other characters experiencing some down-home preaching.

“It’s some fictitious church in Las Vegas,” Connor explains. And as the second act tells the story of this church — and the Christmas service being presented — the play explores how important this day is to the characters.

In the process, a variety of biblical references surface, helping to “show the parallels for the Christian community, and the African-American community,” Connor says. “How we have our kings, our wise men, our shepherds.”

Hughes wrote “Black Nativity” at the height of the ’60s civil rights struggle. And, in Connor’s view, the renowned poet and playwright “was saying to the black community, ‘You can see yourself’ ” in the play’s action. “You can use the Nativity story to affirm your identity.”

But the production’s parallels extend well beyond the black community, Connor says.

Regardless of background, “you will see a reflection of someone you may know,” he promises.

Besides, “the entertainment and music and dance are entertaining to any race, creed, color or religion,” he says. “It’s a good family show — a feel-good show.”

And the songs “will give you a feeling of the old Baptist church,” Axam says. “That’s where the richness comes.”

Overall, she says, “It’s going to make you cry. There are scenes that might be a little bit funny. There are lessons learned. You should hit a range of emotions.”

Somebody say amen.

Contact reporter Carol Cling at ccling@reviewjournal.com or (702) 383-0272.