‘for colored girls who have considered suicide/when the rainbow is enuf’ Amazing!

for colored girls who have considered suicide/when the rainbow is enuf (Marc J. Franklin)

When you have contemplated suicide, the rainbow with all its Biblical and mythological significance is not enough. The pain is cyclical, repetitive and cataclysmic until you end it. However, in ntozake shange’s choreopoem, for the empowering community of black women shining through the clouds of history to speak an anointed truth that has been forged like gold over the centuries, the embodiment of the living rainbow of love is enough.

The revival, currently at the Booth Theatre is directed and choreographed by the anointed Tony award nominated Camille A. Brown (Choir Boys). Shange’s iconic tone poem was initially presented on Broadway in 1976 to great acclaim, transferring its success from the Public Theater. Brown’s re-imagining is a heightened elucidation, different from the 2019 production at the Public Theater which featured mirrors, a disco ball and other shimmering dance party effects.

Brown and her design team have removed elements of reflection in the 2019 production and worked toward an affirming strength in the divisions of light divided through a prism to become seven color bands whose hues are picked up in all the dramatic elements of theatrical spectacle engineered by the creative team. The team manifests the vibrant colors of creation and coordinates them with lighting design effects (jiyoun chang) and eye-popping emergent luminescence in a multitude of shapes projected on large panels on both sides of the stage (myung hee cho-scenic design, aaron rhyne-projection design).

To original music and Brown’s seminal choreography the team ingeniously relates Shange’s poetic story themes. Each monologue and bridge by the company reveal a prodigious conceptualization. As they relate theme to color, the actors’ dance and movement resonate the energy of the color they “wear” (sarafina bush-costume design), enhanced by the coordinated lighting and the projections as the music synthesizes all these elements with astonishing power and emotion.

The large panels on either side of the stage close in the central focus on the majesty of the bands of the rainbow embodied in the following marvelous and sterling actresses who sync exquisitely in choreographed unity. These include Amara Granderson-Lady in Orange, Tendayi Kuumba-Lady in Brown, Kenita R. Miller-Lady in Red, Okwui Okpokwasili & Alexis Sims-Lady in Green, Treshelle Edmond & Alexandria Wailes-Lady in Purple, Stacey Sargeant-Lady in Blue, D. Woods-Lady in Yellow.

for colored girls who have considered suicide/when the rainbow is enuf (Marc J. Franklin)

As each of the Ladies announce their stories and receive encouragement from their fellow hues, an emotional progression and journey emerges from youth to motherhood to sisterhood, healing and self-love. The emotions from each of the stories move from revelation to relational love and devastation, to acceptance and self-affirmation, to empowerment, with the merging of all the colors to self love which of course is light. (The rainbow is refracted sunlight through moisture prisms after a rain.)

Some of the colors and stories resonate with great joy and the exuberance of youth: the story of graduation night, the beginning of adulthood and sex for the first time by Lady in Yellow (D. Woods). Others take on the hue of the experience described: abortion cycle #1 by the Lady in Blue (Stacey Sargeant), who trails with “& nobody came, cuz nobody knew, once i waz pregnant & shamed of myself.” In the bridges to the monologues the rainbow ladies add their encouragement and dance with superb breath control and conditioning.

I particularly enjoyed Tendayi Kuumba as the Lady in Brown who humorously expresses her inspired love for “Toussaint,” whose books she discovers by sneaking into the adult section of the library. As a first foray into the world of a love mentoring, and influence, she lifts up the Haitian freedom fighter and he becomes her lover (she is a precocious 8-years old), and confidante late at night as they conspire “to remove the white girls from my hopscotch games.” The resolution occurs when she meets a “real-live-boy” named Toussaint who is interested in her. When she considers the great distance she must travel to Haiti, she decides he’ll do fine.

for colored girls who have considered suicide/when the rainbow is enuf (Marc J. Franklin)

In the brilliant “somebody almost walked off wid alla my stuff” the Lady in Green (Alexis Sims when I saw it), identifies how the soul can be stolen. The outrage and anger belies the humor underneath as the audience realizes the Lady in Green’s outcry hits home. How many have subdued their inner voice and being for the sake of pleasing another and then didn’t process the identity theft until too late? When emotion and feeling end up residing in the power and confidence of another because of bestowment is this not a form of theft? As one of the more powerful of Shonge’s poems anger is appropriate because the theft is subtle and secret and must be watched or one loses everything.

Perhaps the most telling and dramatic is The Lady in Red’s monologue “a nite with beau willie brown.” Presented by the pregnant Kenita R. Miller, we understand the raw horror of a man who has gone over the edge with PTSD and who brings down everyone else around him. With three children willie brown is emotional, irrational and sly. He desires control and power over the Lady in Red and has beat and manipulated her. However, she has had enough. Miller’s performance builds and intensifies as she compels us to feel the real plight of trying to save the lives of children from their abusive biological father who doesn’t take responsibility for raising him; they aren’t married. Delivered with incredible empathy, love and force, Miller’s performance is breathtaking. Clearly, deeply she reaches the soul level, indicating what it is like to confront one who has learned to kill and can’t turn it off. Just dynamite.

Camille A. Brown has infused an emotional reality in the presence of these ladies of color that is felt and is experienced. Not only has she discovered the way of story telling through the actors’ rich performances, she has threaded their beauty through movement and dance, steady drum beats and lyrical notes of powerful, velvet femininity.

for colored girls who have considered suicide/when the rainbow is enuf (Marc J. Franklin)

This is emphasized throughout, but perhaps most in the “laying on of hands” in which all of the hues anoint each other and the Lady in Red expresses in the beginning of the segment that there was something missing. But by the end in the company of the rainbow women, she states, “i found god in myself & i loved her/i loved her fiercely.” Only then after the expurgation of all that is ill in the culture to receive and distinguish all that is loving and graceful, the Lady in Brown concludes, “this is for colored girls who have considered suicide/but are movin’ to the ends of their own rainbows.”

Cookie Jordan’s hair & wig design speaks out to individuality, empowerment and self-confidence. This especially resonates in a world where women’s rights and “colored” women’s rights have been dismissed by white men who intend to rule like demented, genocidal lords over us if we let them.

The original music, orchestration and arrangements by Martha Redbone and Aaron Whitby flow seamlessly in and out of the gorgeous mosaic of Brown’s dance and movement choreographed to perfection against Shange’s poems, backdropped by sustained flashes of scintillating color projections. Drum arrangements by Jaylen Petinaud provide the beating heart of Shange’s work, pulsating energy and life. The music and drums electrify the actors who in turn electrify the audience in felt, authentic moments. Tia Allen as music coordinator and Deah Love Harriot’s music direction provide further grist to this intense team work that brings such memorable force to Shange’s masterwork.

This must be seen by every woman as it is an incredible, uplifting production that explores the secrets in every woman’s heart, unexpressed, felt, experienced. The production’s currency aligns with the recent Supreme Court draft to turn down Roe, an abomination of desolation, un-Christian, indecent, genocidal. Juxtaposed against wickedness, Camille A. Brown’s production is an affirmation of hope and the glory of womens’ empowerment to throw off the darkness. Indeed, as Shange shows us the way; the rainbow in the full representation of a unity of all colors in self-love is the light.

For tickets and times, go to their website: https://forcoloredgirlsbway.com/

About caroleditosti

Carole Di Tosti, Ph.D. is an Entertainment Journalist, novelist, poet and playwright. Writing is my life. When I don't write I am desolate. Carole Di Tosti has over 1800 articles, reviews, sonnets and other online writings. Carole Di Tosti writes for Blogcritics.com, Theater Pizzazz and other New York theater websites. Carole Di Tost free-lanced for VERVE and wrote for Technorati for 2 years. Some of the articles are archived. Carole Di Tosti covers premiere film festivals in the NY area:: Tribeca FF, NYFF, DOC NYC, Hamptons IFF, NYJewish FF, Athena FF. She also covers SXSW film. Carole Di Tosti's novel 'Peregrine: The Ceremony of Power,' is being released in November-December. Her two-act plays 'Edgar,' 'The Painter on His Way to Work,' and 'Pandemics' in the process of being submitted for representation and production.

Posted on May 5, 2022, in Broadway, NYC Theater Reviews and tagged , , , , . Bookmark the permalink. Leave a comment.

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