The Classical Theatre of Harlem's lean-and-mean production of Ty Jones' play brings Nat Turner's riveting story to visceral life.
The very fact that you have to pass a life-size statue of Malcolm X to enter the auditorium -- in which the former activist was assassinated in 1965 -- sets the context and tone. Amid the colorful murals of the Malcolm X and Betty Shabazz Memorial and Education Center, designer Troy Hourie has assembled a simple, effective setting, including a waist-high platform encircled by footlights and two rows of seating.
Turner (played as a child by Michael Cummings and as an adult by Jones himself) showed such precocity that he was educated alongside his owner's own son. The idyll couldn't last, of course. Indeed, the very fact that Turner could trade Shakespeare quotes with a liberal-minded young Englishwoman (Gisela Chipe, striking just the right attitude of fascination) proved more liability than parlor trick. The ensuing opprobrium -- including outrage within his own family -- prompted Turner's first attempt at running off. The realization that "it is a fool who thinks he is free when his people are still in bondage" brought him back.
The flashbacks and cross-cuts -- demarcated by soulful spirituals employing bodily percussion -- make for a narrative that's not always easy to follow, but there's no escaping the essence. Historical accounts tend to ascribe Turner's radicalism to religious fervor, and we do see him engaging with a scriptural duel with his lawyer, Thomas Gray (Sean Patrick Reilly), and later preaching fervently to the four men who'll become his apostles.
Jones, however, presents Turner's viewpoint in such a way that the deep wrongness of the situation seems incontrovertible -- a question of common sense. Dramatized vignettes show how the whites rule via favoritism and envy, and how the subjugated families, absorbing the violence aimed at them, start to turn on themselves.