Right now, weather permitting, there are few places in Manhattan sweeter than The Amph at Little Island Park, where a thrilling staging of The Gospel at Colonus bowed on Sunday for a too-brief stay. The semi-circle of the 700-seat Greek-style amphitheater looks towards the Hudson River and the greenery of Castle Point on the New Jersey side. From sunset into evening, this vista glimmers beyond the 90-minute performance of a distinguished 1983 music-theater work that is classically suited to outdoor presentation. The last time The Gospel at Colonus was seen in these parts also was staged outdoors, at the Delacorte Theater in 2018.
The late Lee Breuer’s poetic text reinvents Sophocles’ circa 400BC Oedipus drama as a Black Pentecostal church service. The choir here functions much like the chorus in ancient Greek theater. Bob Telson’s bluesy, gospel-suffused score is grand, glorious and performed with gusto by a vibrant company. The Gospel at Thebes remarkably delivers both meaningful classical themes and a really good time driven by some irresistible music that soon has spectators swaying in their seats. (Make sure to grab a cushion on the way to those wooden seats from any of the helpful ushers.)
The stadium-like pitch of The Amph’s horseshoe seating focuses viewers towards the central area where scenic designer David Zinn situates most of the show’s ten musicians at the middle of a circular deck painted in hot reds and pinks. Tracing its outer edge is a bench for the key performers and ten members of the chorus. In view, too, is a pretty patch of tall grasses and wildflowers that represents a sacred grove outside Colonus, a city where the blind, exiled Oedipus seeks refuge.
Such smart design reflects the music-drama’s own imaginative mix of ancient and modern elements that inspire the beautiful new production smartly staged in high style by director Shayok Misha Chowdhury, whose fine artists frequently move in rhythmic, ritualistic patterns. Leading these proceedings is Stephanie Berry, assuredly depicting the Preacher in a flowing gown and a compassionate glow. At various times, Oedipus also is voiced by Berry, but mostly this central character is interpreted singly or together by veteran blues singer Frank Senior and operatic bass-baritone Davóne Tines. Looking strikingly unalike, perhaps to suggest the mortal and spiritual sides of Oedipus as he seeks rest, their distinctive vocals contrast but also can blend harmoniously.
Oedipus’ loyal daughters are contrasting figures in Samantha Howard’s earthy Antigone and Ayana George Jackson’s glamorous Ismene. A charismatic vocalist, Kim Burrell fires up both the score and drama. So does the fevered artistry of Jon-Michael Reese as Oedipus’ snaky son Polyneices, perhaps most notably among other able performances from Brandon Michael Nase, Vischon Robinson and Dr. Kevin Bond. Pumped by an electric organ throbbing at the heart of the orchestra and whipped up by James Hall’s filigreed gestures as choir director, the vibrant choral musicianship is rich and celebratory.
Production credits are first class. Melding modern and classical shapes, designer Montana Levi Blanco dresses everyone similarly in lilac shades yet accents their individuality by jewelry and different headgear; the usually billowy clothes look comfy for summer weather wear. Cookie Jordan created the complimentary hair and wigs. Stacey Derosier’s lighting design is practical, richly colorful and dramatic to the point when at times, like Oedipus, some viewers may feel as if their eyes were being stabbed out by the glaring luminaires. In spite of the acoustic support provided by sound designer Garth MacAleavey, some lyrics get lost in the singing, but the work’s essential story of refuge, sanctuary and redemption remains clear.
Anyone lucky enough to score a ticket is fated to experience a memorable time.
The Gospel at Colonus opened July 13, 2025, at The Amph at Little Island and runs through July 26. Tickets and information: littleisland.org
