If you can find a more joy-filled, inspirational musical than ReGina Taylor’s Crowns—a tribute to African-American women, their church-going traditions, their friends and families and their gorgeous chapeaux—I can’t imagine what it could possibly be! Raising the roof of the historic Christ Church Cathedral in downtown Nashville to praise the Lord and recount the struggles and achievements of generations of proud African-American women resplendent in their fashion and finery, showing off their ingrained “hattitude” with dignity, pride and grace, Crowns works its way into your heart easily, ultimately taking its place in your soul with its universal tale of love, hope and devotion.
Now onstage at Christ Church in a production from SistaStyle Productions, by way of the cathedral’s Sacred Space for the City arts series, Crowns features the completely engaging performances of seven actors under the direction of two tried and true directors—Ted Swindley and Mary McCallum.
Adapted from photographer Michael Cunningham and former TV reporter Craig Marberry’s coffee-table book Crowns: Portraits of Black Women in Church Hats, Taylor’s genuinely heartfelt stage treatment focuses on six women who impart the wisdom of their years and their individual and shared experiences through a series of monologues and scenes depicting events in their lives and the importance of a woman’s hat in African-American church culture.
Focusing on the character of Yolonda (played by Tamiko Robinson, arguably Nashville’s finest stage actress of the moment), a young woman who’s come to Darlington, South Carolina, from her Brooklyn home to live with her grandmother in the wake of her beloved brother’s shocking, nonsensical death at the hands of one of his “friends,” Taylor interweaves each woman’s story—and the stories of all the other women who figure prominently in the play’s action—as she explores the impact of their tales on a confused, scared and possibly non-believing Yolonda. Their stories are underscored by the performances of traditional hymns and rousing spirituals that give the onstage action deeper resonance and meaning, both for Yolonda and for people in the audience.
It’s a richly invigorating story told onstage and directors Swindley and McCallum—given the superb support of music director Randy Craft and choreographer Rossi Turner—bring it to vivid, memorable life through their clever and inventive staging and, ultimately, it is their attention to detail and their superb casting choices that result in a theatrical experience that is unforgettable and thoroughly accessible, no matter your own religious beliefs.
Sure, much of the plot revolves around hats and the requisite hat etiquette (“Don’t touch the hat” seems the most important thing to remember, but you’d also be advised to give the hat—and its wearer—all due respect) which ensures a grand time will be had by all, but the most prescient information relayed is this: “The more I study Africa, the more I see that African Americans do very African things without knowing it,” Yolonda says near the end of the show. “Adorning the head is one of those things…whether it’s the intricate braids or the distinct hairstyles or the beautiful hats we wear on Sundays. We just know inside that we’re queens. And these are the crowns we wear.”
The women, though rather sketchily drawn in the somewhat bare-bones script, are nonetheless so believable and almost indefinably present in the play that you cannot help but be moved by their stories—whether it’s the tale of a woman who sings exuberant and unrequested solos every Sunday morning, a young woman begging to be relieved of her tobacco cutting chores, or a fiercely proud African-American woman purchasing her first hat from a previously whites-only department store in her hometown—and to find sustenance and hope in their unbridled and unreservedly genuine love of God and His grace. Even the most immobile of non-believers will find themselves reacting in perhaps unexpected ways.
