We know how to make some noise!" says one of the Southern church ladies who celebrate their traditional black women's "hattitude." Wearing these "crowns" takes them back in history to when their enslaved ancestors could congregate only in church. There, they honored the Lord by covering their heads with dignity and pride, a tradition that led to hats as signs of status. Stories connecting family histories to hats get told in scenes of gatherings for fellowships to funerals, mostly augmented by gospel music but also departures such as hip-hop. All noisy, indeed.
Author Regina Taylor attempts to put all the ladies' "explanations" of their hat fancies into a semblance of drama by creating a context: Young Brooklynite Yolanda is sent to her grandmother after her a street/drug gang fatally shoots her innocent, beloved brother. (Dana Dawson makes as much of this role as she can, defiant while remaining attractive.) She wears his baseball cap, usually backwards or sideways, as well as jeans and boots. Her acceptance of a big brimmed, flowery hat toward the end signifies that she's learned from the "crowned" ladies and joined their celebration of self, heritage, community. So much for plot.
With almost no political or philosophical overtones, the five hatted ladies concentrate on song lyrics that are religious bridged by narratives of personal and African-American history. Their prevailing positive, joyful attitude assures that everyone in the audience will feel "with it" and not any guilt.
A review of a revue needs to do little more than mention the women's rousing vocals, with special accolades to C. Kelly Wright's soaring a capella "His Eye Is On the Sparrow." They all move well and -- in elaborate, colorful costumes to match their many patterned and much decorated hats -- look great. Amazing, since at least two are so hefty that one fears for their health when they cavort under blazing lights while swathed in heavy-looking fabrics.
As a man for all reasons, but principally a minister, C. Mingo Long performs regally, notably singing and dancing "That's All Right." It's too bad the musicians are so far off to both sides of the stage, because their fantastic movements are as wonderful to watch as their playing is to hear.The titles superimposed on a sweeping-upward-backdrop of wooden slats, on the other hand, are sometimes hard to make out and, in most cases, unnecessary.
Scores of hats hanging from the wings add atmosphere. (Others are available in the lobby to be bought and brought home.) With audiences who love to clap along and pop up in swaying and applauding ovations, Crowns looks to be as big a success at Asolo Theater Company in Sarasota as it has been in other regional venues.
