A Deep Breath of Theatre:"True Colors" Does It, Again!

I'm not certain there are enough adjectives in the entire world to fully describe how magnificent the True Colors Theatre Company production of "The Colored Museum" at Friday night's Premiere, was.
Director Jasmine Guy's interpretation of George C. Wolfe's play, filled with alternately harrowing and hilarious subject matter, is genius.
The play opens with a reference to the most shameful chapter in American history, yet it does so with an open heart, a joyful heart. "The Colored Museum" spurs us towards joy, even as we experience, through various vignettes played by several actors in multiple roles: the alienation, night after empty night in a bar that a disenfranchised young man feels;the outrage of a mother;the loss a(Vietnam-era?)soldier feels...
Ms.Guy manages to create the tension we must have to get what I'd call "fully-vested theatre"(action we cannot look away from)while simultaneously relieving that same tension with over-the-top(yet still believeable)parodies of dance, mime, and even minstrel-shows.The ability to weave this together, such that we are enchanted and stunned/scared/horrified in the same moment, was so shocking that I found myself frequently unconsciously holding my breath.
There is an overwhelming sense of heritage and pride in being African-American in every celebration in this play, while at the same time, an exhausting sense of loss of identity for all African-Americans struggling to make it in this (still-racist) world.
Enoch King (he formerly starred in True Colors'"Brokeology")is entertaining, as always. Entertaining, and poignant.
Danielle Deadwyler is captivating as well.
But this is an ensemble piece, and every actor in "The Colored Museum" is gifted, convincing, and thoroughly engaging.
Must-mentions:
The music(Composer Russell Gunn and Sound designer, Bobby Johnston)acts as catalyst in the series of vignettes.
The set(Designer, Kat Conley) is constructed as "cells" of light.It evokes prison, glass, mirrors, and make-believe.
The costumes, designed by Sydney Roberts(especially the talented Je Nie Fleming's Diva-character Lala Lamazing Grace's stunning gown)are perfection.
My only disappointment was the show's length(too brief): just over 90 minutes.
But this means a couple (or bring the family!)could go see the play, go to dinner afterwards if they wish, and still get home in plenty of time to let the dog out.
True Colors Theatre calls itself "A Moveable Feast Of Theater".This means that their shows literally move...they bring their shows to various venues throughout Atlanta.
A recent show, "Brokeology" was, for example, held at Southwest Arts Center.
This show, "The Colored Museum", takes place in Decatur's Porter Sanford III Performing Arts Center.
A beautifully designed space, with a 500-seat theater, and lovely surroundings, it's well worth the drive to Decatur.
Make the short drive to Decatur, and you'll begin the journey once you arrive:
A journey through time, stereotypes, heartbreak, laughter,and breaking free.

Peace, kids.

This Is What It Feels Like, When Theatre Works.

Kenny Leon, director extraordinaire, has done it again. This time, it's a play presented by his own True Colors Theatre,it's entitled "Broke-ology" and it has Leon at the helm.
I attended the Regional Premiere, on Friday night, with the sweet Coral McGhee, a dear friend I've known for nearly 21 years, and my eternal friend, author Collin Kelley.The stylish Southwest Arts Center in south Atlanta includes a great place for mingling before-the-show, with local artists' works exhibited throughout the large open spaces.
I was thrilled to see a full house, and the theatre itself is large and impressive.
Jasmine Guy is ethereal as the haunting wife, Sonia King.Her forlorn husband, William King is played with precision, and with devastating honesty, by Afemo Omilami.
The two sons, Ennis and Malcolm, are played with conviction by Enoch King, and Eric J. Little, respectively.Ennis could be played broadly just for laughs, and Enoch King's comedic skills are impressive(he is hilarious!), but this actor chooses wisely, and we are treated to a complex human being who uses humor as his way of coping.Eric J. Little's tortured Malcolm is the catalyst for much of what occurs in this funny but ultimately thought-provoking piece of what I'd call 'lightning-bolt' theatre.
Lightning fast delivery, bolt-from-the-dark-of-night revelations in the form of dreams, inanimate objects that provoke, and what could be mirages, and moral dilemmas (one in particular) are the center of the play.
Surround this with a set which beautifully reflects a sense of being "stuck": a front door laden with bars for safety(ostensibly), but there is a palpable sense of being locked-in, as well as keeping trouble, locked-out, while other elements onstage, including superb lighting and nostalgic music, suggest being suddenly freed.
Billowing streams of curtains suggest the sails of a faraway boat, a rainbow after rain, a shroud...
As I readied to leave the theatre(my hands hurt from clapping so much, but it was well worth the hurt), I remarked to Collin, "This play reminds me of why I love theatre so much..."
Knowing I am an actor, he quipped "Well, it reminds me why I love SEEING theatre, Lisa..."
And though I love acting onstage, in this case, he's more accurate, as I wouldn't trade the rich experience I had seated, for one onstage.
When you experience this play as an audience member, you'll find yourself laughing hysterically one minute, and a moment later, your heart will be broken.
I'm sure the actors onstage enjoyed their well-deserved standing ovation, but given the enormity of the play, I know as an actor the real excitement comes from the (brilliant) discoveries they made, and will continue to make, during this evocative play's run.
Don't miss this play about the all-too-real needs of human beings. That we are validated. Cared for. Loved.