In God's Trombones,' The UCSC African-American Theater Arts Troupe revives the Holy-Ghost spirit of the black church

by Adrienne Rogers
Sentinel arts writer

With its concrete shell and sleek interior, the UC Santa Cruz Music Center Recital Hall bears little resemblance to that jubilant house of spirit, an African-American church.

However, last weekend's performance of "God's Trombone" by the UCSC African American Theater Arts Troupe seemed to bathe the hall in a spiritual light, filling it with joyful gospel music, impassioned sermons and spirited outbursts from the congregation and audience.

Those same inspiring sounds will pour forth from the Louden Nelson Community Center tonight and Saturday, as "God's Trombones" slides down the hill for a turn in town.

Under the direction of UCSC's theater professor Donald Williams, two dozen actors and singers, in a wide range of ages, university students and community members alike, riff on Bible scriptures, raise their voices in song and honor Jesus with plenty of "Amens," "Hallelujahs" and clapping hands. Audience members are invited to clap and shout as the music moves them.

"God's Trombones" was written in 1927 by James Weldon Johnson, a lyricist, lawyer, diplomat and activist of the '20s and '30s. A contemporary of W.E.B. DuBois, Johnson was instrumental in the Harlem Renaissance and was later appointed Council of Nicaragua by President Theodore Roosevelt.

Through his work with the NAACP, Johnson aimed to improve the present and future conditions of his people even as he strove to preserve African American traditions, especially the spiritual ones.

"Historically, the black church has become the centerpiece of African American life," Williams explains. "It was the first true gathering place for black people during the slave times. THe ministers were their spokemaen. Often they were the only ones who knew how to read or write. It was their job to regroup the people and lift their spirits." That's where the uplifting gospel music comes in. "The is a ministry in itself," Williams testifies.

Gopsel music is based on the African musical style of call and response interplay between a singer and a chorus.

As Williams explains, all black churches have in common the a love of Jesus Christ, but also display subtle differences in style. For instance, the first sermon take splace in a church with an African motif, where the congregation wears bright, traditional print clothing to celebrating visually the African traditions. In the second church, the pastor, played by townie Aaron Woods, stands tall in purple robes, as straight as a pillar. Williams calls him "the teacher kind of preacher. He's conservative and educated, usually preaching to a Protestant church."

The third service depicts a burial in the Baptist style. The sermon is filled with fire and passion turning to joy because despite death's adversity, the deceased loved one is joining God and Jesus, an event to celebrate.

In a showstopping turn, blues singer Sista Monica, as Pastor Ethel Divine, expounds on the story of Noah, in fiery Pentacostal style.

Sister Minnie Coats represents the modern progressive Baptist style, recounting the story of Moses with strutting humor and a soul bubbling over with the Holy Ghost. Tiny as she is, she stirs up her congregation into a tambourine slapping frenzy.

That is one aspect shared by all African American churches, according to Williams, "You may come into church looking neat and tidy, but you'll come out looking like you been enjoying yourself."