Review: YOUR ARMS TOO SHORT TO BOX WITH GOD at Playhouse On The Square

The recent college campus protests in America seem to have surprised and bewildered a lot of people around the world. Why do “privileged” students who can afford a college education risk being expelled or jailed over a conflict in Gaza? Graduations are currently being cancelled, people are being arrested and police with riot gear are on standby from New York to California. It’s almost unheard of.

That is, unless you’re old enough to remember what campuses were like during the Vietnam War. Thousands of college students marched in protest to America’s involvement in the war and out of fear of being drafted themselves (“Hell no, we won’t go!”). As a counterprotest and reaction (some may call it an overreaction) to the times, a new movement began in response to the conflicts around the world.

What’s the opposite of war and destruction? Peace and love! The “Make love, not war” campaign began to emerge in the late 1960’s and early 70’s and it permeated all forms of culture—music, art, and even theatre. Musicals like HAIR, JESUS CHRIST SUPERSTAR and GODSPELL were all the rage back then.

They either overtly focused on the anti-war movement (HAIR) or they sought to celebrate biblical peace and love per the teachings of the bible. These pieces “co-existed” with the civil rights movement which meant some black performers could participate, but weren’t nearly the primary focus. No, productions like these weren’t made by or for African Americans. However, in 1976, Vinnette Carroll (the very first African American woman to direct a Broadway play) decided to create YOUR ARMS TOO SHORT TO BOX WITH GOD-a soaring celebration based on the book of Matthew (just like GODSPELL), but featuring a predominantly African American cast. The show was nominated for four Tony Awards and ran for over a year before closing in 1978.

Although it’s arguably better than the biblical musicals that came before it, it never received the recognition it truly deserved  and has virtually disappeared from most professional and community theatres across America…until now.

Under the direction of another African American woman (Claire D. Kolheim) and with as talented a cast as a show could possibly have, this Playhouse on the Square production of YOUR ARMS TOO SHORT TO BOX WITH GOD is easily the best of POTS’ 2023-2024 season and the most joyous creation to be seen on any Memphis stage in years. Kolheim knows how to put on a show, and she has managed to assemble some of the best singers and dancers this side of the Mississippi. Combined with POTS’ best overall technical elements of the year, this is a spectacle not to be missed before it closes on May 19th.

You don’t have to be a theologian (or ever go to church) to know the basic “plot line” of the book of Matthew. Jesus arrives on the scene, begins performing miracles, is celebrated, and then crucified for his actions. The story is not new here, but the presentation is what this show is all about. Through rousing gospel music and interpretive dance, YATSTBWG places its emphasis on the “art” of storytelling, rather than just the story itself. Sure, you’ve heard people sing and you’ve seen people dance, but you haven’t witnessed singing and dancing like this!

It's not fair to single out any one individual performer since each person is just as good the next, but just know that the performances somehow manage to top themselves as the night rolls on. In the original 1976 production, none of the cast was assigned a specific role or character name. Instead, they were all billed as “performers” as they took turns in the spotlight. Here, some of the performers are assigned “roles” as singers and dancers.

All of Emma Crystal’s choreography is lyrical, emotive, and simply beautiful. Just as a song can elevate the intensity of a moment, dance can do just as much, if not more. This entire cast holds nothing back and electrifies the theatre with their movements highlighting the full gamut of emotions. It’s a remarkable sight.

Karl Robinson plays Dancing Jesus and he elevates interpretive dance to an exquisite art form displaying love, persecution, and resurrection. His movements are powerful while still being succinct and clean. His character communicates almost exclusively through dance and yet Jesus’ feelings are never in doubt. You will viscerally experience his joys and pains. Impressive!

Zurick M. Thomas is mesmerizing as Judas, the betrayer of Jesus. Through the vehicle of dance, Thomas conveys a vengeful Judas who fights his demons to the end. He manages to present a convicted and complicated character who can still garner sympathy in his demise. He’s a forceful dancer.

As impressive as the dancing is, the vocal prowess of this cast is even better. Every vocal performance manages to exceed the one before it as it compels you stand up and cheer. Incredible vocal performances come from Gabrielle Willingham, Arthella Williams Moore, Brandon R. Dickerson, Mac White, and Haley Wilson. Each of them has the talent to seize their moments and literally stop the show.

Keeping it all together is perennial Memphis favorite Curtis C. Jackson as the preacher. He sets the perfect tone for the show with his inspirational pulpit deliveries scattered throughout the performance inspiring us to say “amen!”

Technically, this is a beautiful show. Tim McMath’s scenic design is also easily the best of the POTS season. His singular set doubles as a church and the holiest of places where Jesus was crucified. Overall, the design is crisp, clean, and somehow spiritual. No doubt the ambience of the stage could not be as wonderful without Terry Eikleberry’s majestic lighting design. With the use of calculated infusions of haze, Eikleberry transports us to an elegant world that warms the heart. Joshua Crawford’s sound design provides perfect amplification over Tammy Holt’s spectacular orchestrations and J. Faye Manselle provides costumes that range between choir robes to classic “biblical attire.”

There is absolutely no reason that YOUR ARMS TOO SHORT TO BOX WITH GOD has not become a theatrical mainstay in America like GODSPELL or JESUS CHRIST SUPERSTAR has (other than for reasons too obvious to state here). This is a show to be seen because this is a production to be seen. Busloads of churchgoers and audiences of all ages should be lined up around the block to see this show. It is truly electrifying, and you will be inspired, not just by the greatest story ever told, but HOW it is told. Bear witness because your spirit will be moved like never before!

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