This weekend, On Q Productions, Charlotte’s only theater production company solely dedicated to portraying the African-American experience, will be putting on its largest show yet.

“The Amen Corner,” running January 13 – January 28, features a cast of about 30 actors, nearly fives times the amount found in a typical On Q theatrical production. The three-act play deals with a self-anointed Harlem storefront preacher, Margaret Alexander, who is the leader of her flock and about to see her world crumble all around her.

Founded in 2006, On Q Productions is in the third season of its residency at the Blumenthal Performing Arts Center. The theme of this season is “The Sound of Music.”

Qcitymetro.com recently caught up with Quentin Talley, On Q’s founder and creative director, as he was busy painting the finishing touches to the play’s set. In the following interview, he discusses his thoughts on being compared to Tyler Perry, the influence of African Americans on music and why he had hesitation about producing James Baldwin’s classic, “The Amen Corner.”

Qcitymetro: The theme of your current season is “The Sound of Music.” Why did you decide to dedicate this season to music?

Quentin Talley: We just wanted to do something that brings everybody together because everybody loves music, and we, as African Americans, have helped shape not only American music, but just music in general. If it weren’t for us, there would be no jazz, blues or gospel. We have a deep-rooted influence in all of these. We just wanted to show life through music.

What made you decide to do “The Amen Corner?”

“The Amen Corner” has always been one of those plays that’s been in the back of my mind. I read it while I was in college. I just thought it was a great play. It’s a classic. It was written by James Baldwin — one of my favorite writers and favorite intellectuals. He was very bold for his time. He was during the time right after the Harlem Renaissance, and we just wanted to show that the issues he brought up in this play, written in 1954, are still going on today in some respects.

The other thing is that it is a three-act play. There are not a lot of three-act plays that are done now. With a three-act play you have two intermissions and the show runs about two and a half hours plus the intermissions. So, you are deeply immersed in the show before you know it. It’s just a good show. I was hesitant about doing it because there were so many actors, but we ended up working it out. We have a great director, Ruth Sloane. She’s been great. It has really come along very nicely.

Are there any aspects of the story that particularly resonate with you?

I grew up in the church, and it was interesting to see the dichotomy he used with the church and with poverty and trying to make a way out of no way. That’s what these people were trying to do. During that time period, there was a lot of migration to the North. Everybody was looking for the American Dream and found out when they got to the North, that it wasn’t any better. So, he has all of that rolled into this story. Plus there is the religion versus spirituality aspect and what it means to just have a personal relationship with your creator. All of that rolled into one spoke to me. I think it’s still very, very relevant.

What do you hope the audience will take away from the performance?

I hope they will find a new appreciation for Baldwin, and rediscover who he was as a writer.

You are often compared to Tyler Perry. How do you feel about that comparison?

It’s cool. I can see why they make that comparison, but I am my own person. I take it as a compliment.

How do the two of you differ?

I differ from Tyler Perry in that, first of all, I don’t write all my plays. Second of all, I don’t direct all my plays. And thirdly, I am just an artistic director. I just pick plays and put creative people who are great at their profession — whether it be actors, directors, or what have you — in the position to do what they do best. I only direct one or two shows a year. Other than that, it really is a community thing. On Q is a play off my name, but it is a play off theater too. There is always the “cue to cue” in theater, which means you are right on time and right on point. So, it’s more a play off that than necessarily my name, and that’s sort of how I differ from Tyler in that respect. This is definitely a community effort, and not totally all “on Q.”

What advice can you offer for any aspiring actors, directors or anyone else interested in getting involved in theater?

My advice is just get into the community. There are a lot of theater companies in the area, besides On Q that you can intern with or just show your face and express interest in being a part of it all. Theaters always need help with something. You are literally recreating life, so there are a lot of elements that go into a production. You might be helpful in painting the set or helping pick out props or costumes. I would say, just do your research. Go see some plays, and see what company you like and gravitate to.

What can we expect next from you in the near future?

Next is our original production “Miles and Coltrane,” which we took to Scotland a couple of years ago and Off-Broadway. So that will be coming back here during CIAA week. Hopefully we will be taking that on the road again. Our last show, [the hip-hop influenced “Rhyme Deferred”] is in June, and that will close out our season. Our new season will be announced shortly after CIAA. So be on the lookout for the things to come next season.

Catch "The Amen Corner" from Jan. 13-28 at the Duke Energy Theater (Spirit Square, 345 N. College St.). For more information, visit On Q's website.

Also, don't miss your chance to win FREE tickets to "The Amen Corner" from Qcitymetro. Click here for more information. 

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Editor's Note: This article was created as part of the Charlotte Arts Journalism Alliance, a consortium of local media dedicated to writing about the arts scene.

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