There is a lot of joy in for colored girls…, most of it connected to music and dancing, especially the salsa dura of artists like Willie Colón and Eddie Palmieri. Playwright Ntozake Shange did call the play a “choreopoem” after all. But there is also a lot of terror and sadness at the way black women are treated by men. Unfortunately, this is still as timely as ever.
for colored girls is a series of vignettes of life as a black woman that crisscrosses the United States and all kinds of experiences, from the ecstatic to the devestating. We meet, for example, a teenage girl in St. Louis who falls in love with a historical personage she read about in a book: Toussaint L’Ouverture, a heroic leader of the 1790s Haitian Revolution. On her search for him she meets a real St. Louis boy also named Toussaint – and suddenly is less interested in finding M. L’Overture. This sort of fabulist poeticism provides stark contrast to the play’s darkest moments, which include evocations of rape and murder.
The power of this choreopoem can be found in Shange’s truly pungent writing, with lines as powerful as these: “I found God in myself and I loved Her – fearlessly,” “six blocks of cruelty piled up on itself,” “I couldn’t stand being colored and sorry at the same time – it seems redundant in the modern world” “I survive on intimacy and tomorrow,” “I was missing something promised,” – truly an endless flow of pithy, evocative language.
Director and choreographer Camille A. Brown – the first black woman in many decades to execute both roles on Broadway – conveys a propulsive rhythm even in the stillest scenes, which really revs up when paired with composers Martha Redbone and Aaron Whitby’s updated take on salsa dura. Recommended.
For tickets, click here.
To learn about Jonathan Warman’s directing work, see jonathanwarman.wordpress.com.