Rap opera is messy and raw, yet rich and powerful

Considering all these facets, it’s not surprising that “Street Talk Suite Talk’’ is a bit messy and raw. Two years in the making, this full-evening version is overly long, too busy in spots, and lacks a convincing dramatic arc. But it’s chock full of powerful, memorable moments, and it beats with a strong, steady heart and a passionate commitment.

Myer’s vigorous, imaginative choreography, grounded in an elegant balletic classicism, is repeatedly skewed with an edgy modernism: abrupt stops and starts, sharp angled limbs, gestures that range from clenched fists and pistol-like fingers to hands clasped in prayer. Quick shifts in direction suggest indecision, confusion. Stiff-legged walks evoke both shackles and regimented authority. The spectacular Joe Gonzalez stands out in athletic, high-energy solos and frequent couplings with Carol Somers.

Some of the poems are revelatory. TiElla Grimes’s “Deep-Rooted Reflection’’ and Tu Phan’s “Straightjacket’’ have a searing immediacy. Others have a musical rhythm all their own, sometimes complemented, other times subverted by Jakov Jakoulov’s eloquent score, played beautifully by violinist/violist Mark Berger. Throughout, God is addressed through questions, rebukes, and ultimately praise, as an eight-voice choir leads the audience in a sing-along finale of “Amazing Grace.’’