Photo: Event Flyer
“Go ye into all the world.” Los Angeles-based virtuoso Leon Lacey heeded the call and descended unto the stage at Brooklyn’s Kings Theatre in his NY hometown. In partnership with author, mentor and thought leader, Christian Cultural Center’s (CCC) Pastor A.R. Bernard, Lacey hosted a star-studded Black Tie event featuring a 70-piece multicultural orchestra, musical accompaniment to Gospel heavyweights Donald Lawrence, Darwin Hobbs and Yolanda Adams along with Emmy Award winner, author and inspirational speaker Iyanla Vanzant.
The accomplished conductor, orchestra arranger and film score producer has extensive musical and cinematic experience, having helmed projects for faith-based as well as celebrity creators. His roster boasts collaborations with the likes of Bishop T.D. Jakes and an impressive lineup of popular entertainers: Janet Jackson, Beyoncé, Mary J. Blige and Wyclef Jean, among others.
The night of inspiration was a celebration of faith–faith in oneself and one’s abilities and the ultimate faith: faith in a faithful God.
A brief prelude and a recitation of his accolades introduced first guest Donald Lawrence. The musical genius then took to the stage. After a quick exhortation to the audience in general and women in particular, the professional conductor displayed his mastery. With one flourish, the maestro directed orchestra, choir, background vocalists, soloist and audience in an ensemble rendering of the self-empowering anthem, “Encourage Yourself.” Further delving into his playlist, he followed up with a sampling of other mass choir staples.
The bar was set.
Anticipation high, riveted by the thrumming of the orchestra, attendees waited with expectation for the next presenter. Enthusiastic applause reverberated throughout the auditorium as the authoritative voice commanded the stage. Then she materialized, a vision in white. She, who skillfully “turned lessons into tools.” She, famed for doing and advocating “The Work.” She, who penned “Acts of Faith,” the purple book, a meditation guide for people of color, renowned for being “the most stolen book from college dorms.”
Iyanla Vanzant, the hometown shero emerged and engaged the audience members, regaling them with stories of excruciating experiences lived and survived. She meandered playfully and deliberately down memory lane, leading them down familiar streets of the old Brooklyn neighborhood, a parallel journey along the path of her faith walk. Lighthearted, connected, she held sway from the first utterance to the last mic drop. The orchestra thundered in accompaniment. Rhythmic. Steady. On occasion, when the music threatened to overwhelm the verbal instructions of the visualization exercise, the established tempo, pulse, beat, guided the Friday night ad hoc congregation crescendo-like to its expected end. Faith, unleashed. In a single session, spiritual guru Iyanla fixed what ailed the god-fearing. As she prepared to exit the stage, she admonished listeners with a singular succinct, trademark-worthy nugget, “Don’t tell God how to God.” Iyanla out.
Enter Darwin Hobbs, the unexpected treat. The tried and true gospel artist paid homage to superstar Luther (no last name necessary) crooning two of the late singer’s mega hits. The first selection, a stirring interpretation of classic wedding song, “Here and Now,” evoked appreciative tones of muffled delight as some of the flock grappled with the internal conflict associated with overt enjoyment of non-Christian entertainment.
Expressing similar concern, the soulful worshipper tunefully hummed a few bars of a traditional hymn demonstrating an outward commitment to his stated faith.
Tacit permission firmly entrenched, the concertgoers were now primed for the second number. A fun call and response ensued: “Who remembers?” “Who knows the lyrics?” And the saints did not disappoint. As Hobbs launched into cult favourite, “Never Too Much,” they sang, they danced and waved sanctified hands. Clearly in awe of the powerful song-styling gift of the legendary vocal acrobat, the gospel singer unwittingly paid the highest tribute to the giver of the gift.
Then it was time for church. “I was glad when they said, let us go to” the Kings Theatre. At the theatre, the King was ushered in, lifted up and glorified. Glorified indeed he was when Yolanda Adams unleashed her compelling testimony. Her soaring vocals intermittently towering over the orchestra ministered in equal measure to the churched and the unchurched. Battle tested and battle scarred, she is a living witness, testament to the sustaining power of a promise-keeping God. Her delivery of the timeless, “Open My Heart,” was as fresh as when it was released in 1999.
Not even the tricky acoustics could outwit the plaintive cry to the Father imploring him for his very present help. The guttural ad libs from the depth of her spirit, “Let God and let go, let God and let go,” “Be still, just be still,” by the sheer repetition communicated to the battle weary a hope and a promise that in the end it would all work out for the good. Ably assisted by the robust CCC choir on the final, “The Battle is Not Yours,” Yolanda Adams brought the house down and with it any stronghold that deigned to oppose the substance of faith. In matters of God’s anointed and those he will eventually call, don’t dare tell God how to God.
Let the faithful say, “AMEN!”
