CROWNS, Moonbox Productions at Arrow Street Arts, Cambridge, through May 4. moonboxproductions.org

Regine Vital, in her director's note for the latest Moonbox Productions effort, calls "CROWNS" a "joyful musical about church ladies and their hats." This stirring Helen Hayes Award-Winning show traces the connection between Black women and their richly diverse hats all the way back to early African rituals and all the way forward to contemporary religious attire. Make no mistake. Through a variety of musical styles and dance as well as vivid stories about the show's women and their hats, "CROWNS" not only celebrates Black church culture but also presents the odyssey of a young African-American named Yolanda from questioning to embracing the importance of this part of her heritage. Thanks to a high energy staging by Moonbox, the 90-minute, one-act musical's timely messages about traditions and understanding should have theatergoers from all ethnic backgrounds and religions moving in happy solidarity in their seats at Arrow St. Arts.

While the musical's book by Regina Taylor (adapted from a collaboration by Michael Cunningham and Craig Marberry) informatively explains many social and spiritual associations of the characters' head coverings, the story through line takes Yolanda from Brooklyn to join Southern family members after the killing of her brother. Gradually she learns to appreciate the hats of relatives as well as those of other church ladies.
There are humorous observations as well as serious moments. Notably a purple attired woman named Velma — owning hundreds of hats and considered a "hat queen" speaks of the importance of "hattitude." Another churchgoer named Wanda advises against hats that look like lampshades. There is even a sequence involving an old lady named Lizzie who is actually attired with a hat in her casket. A historically telling sequence details the struggle to desegregate lunch counters (at Woolworth's) and eliminate the inability of Black women hat buyers to shop at "whites only" department stores.

The vocally talented cast make the most of the many musical numbers that both illustrate the importance of the church ladies' devotion and spirit and capture the fascinating ties between these women. Lovely Hoffman brings a tenderness to the classic spiritual "His Eye Is On the Sparrow" that legendary performer Ethel Waters would admire. Mirrorajah captures all of Yolanda's vulnerability and growing understanding of the church ladies and their customs — especially as she exuberantly delivers the number "I've Got Joy Like a Fountain." Mildred E. Walker finds all of Mother Shaw's wisdom and sings with striking spirit on her early solo "Ain't That Good News." Cortlandt Barrett captures the balance of Mabel — a preacher's wife — conscious of the need to dress modestly. Cheryl D. Singleton has all of Wanda's uncommon insight. Janelle Grace sashays stylishly as Jeanette and brings notable thoughtfulness to a moving moment about her "hat man" father. Kaedon Gray smoothly portrays all of the men in the church ladies' lives — particularly a charismatic preacher.

Costume designer E. Rosser deserves high praise for the musical's amazingly wide ranging repertoire of hats. Choreographer Kurt Douglas has the entire cast moving with great feeling throughout the staging — including strong ensemble moments. At the outset of the show, audience members are invited to clap as the music — strongly directed by David Freeman Coleman — and the cast's lively renditions move them (at the performance attended by this critic, theatergoers were consistently responsive).

At one point Mother Shaw is spoken of "as saintly as England's Queen Mother." All of the women in "CROWNS" are truly royal — and so is the spiritually regal Moonbox staging.