Review: LANGSTON IN HARLEM Celebrates Langston Hughes With Style and Heart at 54 Below

Langston Hughes, the poet laureate of the Harlem Renaissance, was a complicated figure. His writings spanned the mediums of poetry, short stories, journalism, novels, political essays, plays, and non-fiction works. He was attracted to communism as a means to equality, without actually joining the Communist Party. He was one of the few artists with such ties to escape censure by Senator Joseph McCarthy. He spent some time as an expatriate in London but was always firmly rooted in Harlem, its people, and its culture. He founded several magazines dedicated to African-American art and politics. He was instrumental in bringing attention to the unjustness of the Scottsboro Boys' trial. He encouraged other black writers to use racial consciousness as a source of artistic inspiration. He wrote about freedom and its suppression in all its many forms. He is a figure of immense importance to both the African-American and the LGBTQ communities.

All of this is the focus of Walter Marks's play Langston in Harlem. The show had a run Off-Broadway in 2010 at Urban Stages. Thursday night at 54 Below The Classical Theatre of Harlem presented a concert reading of the piece with a superb cast of Broadway luminaries. The show is a series of vignettes describing the relationships in Hughes' life: to his mother, Carrie Hughes, his literary friends, Countee Cullen and Zora Neale Hurston, an unnamed male lover, and Alberta K. Johnson, a worldly-wise madam. What emerges is a powerful look at one of America's greatest literary figures and his lifelong quest for equality and freedom, both communal and personal.

The cast was a cornucopia of amazing talents. Brandon Victor Dixon, (Hamilton, Shuffle Along, Motown) as Langston Hughes, presented a man battling demons both external and internal. Brenda Braxton (Smokey Joe's Cafe, Dreamgirls, Chicago) brought a sensual "seen it all" energy to Alberta K. Johnson. Virginia Woodruff (Violet, The Color Purple) as Hughes' mother, Carrie Hughes, was a woman struggling to understand a son who wanted more out of life than she could understand. Garfield Hammonds (Jesus Christ Superstar, Motown tours), as Countee Cullen, poet and a success with ladies, was the light to Hughes' darkness. Anastacia McClesky, Hughes' literary friend and lesbian confidante, was a particular standout among this excellent cast. Jeremy Collier, as Hughes' unnamed lover, was all irresistible smolder in his scene. The rest of the performers played various other figures and acted as a Greek chorus to comment on Hughes' journey. There was fine work from David Jackson (Grand Hotel, La Cage aux Folles,) Jasmine Overbaugh (Rent tour, Baby,) Natalyee Randall (The Function: a Juneteenth Celebration,) and Clyde Voce (Charlie and the Chocolate Factory, The Color Purple tours.)

Walter Marks' songs weaved all the disparate scenes together with beauty and a soulfulness that evoked a Harlem that now only exists in the memories of those that were there to experience it: songs of community and faith, and grief and hope. "Between Two Rivers" set the scene with some skillful choral singing. Other standouts were Virginia Woodruff's "Crystal Stair." Brenda Braxton's "Gospel According to Madam," Garfield Hammonds' "Song for a Baja Dance," Jeremy Collier's "Havana Dreams," and Brandon Victor Dixon's "Juke Box Love Song." "Troubled Water" was an excellent piece of musical storytelling. And the highlight of the evening belonged to Anastacia McClesky as Zora Nealie Hurston. "The Sweet Flypaper of Life" is a magnificent piece of musical theatre writing. Ms. McClesky delivered it as an all-out cri de couer.

The extraordinary cast was supported by an equally extraordinary band, including Andre Chez Lewis on keys, Lonnie Plaxico on basss, Ronnie Burrage on drums, Marcos Robinson on guitar, and Gene Ghee on saxophone. Director Jerry Dixon managed the large cast with aplomb on 54 Below's boutique stage. And huge kudos go to vocal director, Kenneth M. Green, for some stunning musical sequences. Classical Theatre of Harlem is to be congratulated for presenting this wonderful play. Langston in Harlem is a piece that absolutely deserves a second look, and this company delivered a first-rate production.

For more great shows at 54 Below, visit 54below.com. To learn more about The Classical Theatre of Harlem, go to cthnyc.org.

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