Black Experience Truths Edify

“The Colored Museum,” the BlackCAST’s fall production at the Agassiz Theatre, is provocative, smart, and sly, but above all, passionate. The presentation of rare and significant perspectives on the modern African-American experience is important and worthy, particularly in such a distinguished form.

Ostensibly a series of scenes set as living exhibits in a museum of Black history, “The Colored Museum” shows an ambitious willingness to ask fundamental questions of race and class that make it a success on artistic and socio-critical levels. But the satire’s power lies not in its scenarios but in its emotions; there is nothing comparable to the fundamental fury of an oppressed people.

“The Colored Museum” acknowledges and addresses the existence of a collective cultural anger that has arisen from the historical oppression of the African-American people. One especially persistent theme is the willingness of modern African-Americans to attempt to lay this wrath to rest.

For instance, in one memorable scene a “modern” young black man (James R. Hairston ’07) struggles physically and emotionally with his 70’s self (Christian I.C. Strong ’09) over a Diana Ross album. Should we leave our worst experiences of trauma and pain in the past? Does the rage of a history and a culture ever exhaust itself? The play raises these questions pointedly.

The show finds outlet for its historical anger in a variety of emotions: bitterness, calmness that takes hold in moments moving in their poignancy, and a pervasive and biting sarcasm. Devin D. Smith ’09, in particular, imbues his characterization with the tremendous depth necessary to hold these oft-contradictory impulses, proving his impressive talent.

Smith does a phenomenal job playing a very demanding part as Miss Roj, a transsexual nightclub patron. While he seems hilarious and over-the-top at first, Smith’s intensity grants his emotional content room to fall through the cracks in his facade, deftly addressing the challenges of gay black life.

Although the play’s primary emotions are choleric, it has unexpected moments of levity. For instance, in one of the most unusual vignettes, a young country girl (Juliette C. McClendon ’09) who has inexplicably laid a very real, white, round egg (possibly representative of future generations of African-Americans) talks wistfully of how beautiful and strong her “children” will be. The effect is oddly sweet, mostly because of McClendon’s conviction, and lends a tone of reconciliation to “The Colored Museum” that softens its often razor-sharp edge.

In wrestling with its own rage, the fundamental message of “The Colored Museum” is that it is impossible to forget or suppress the past, no matter how traumatic. In order to live a meaningful life, the collective pain and anger inherent in the African-American experience must be embraced on some level. The result is a deeply mournful, but ultimately unifying celebration of pain.

While concerned with issues of the past and present, “The Colored Museum” also demonstrated the future promise of its participants. First-time producers Faith O. Imafidon ’07 and Nicklette N. Izuegbu ’08 combined their talents well under the leadership of more experienced director Kia D. Alexander ’08. What’s more, many of the play’s actors and actresses are not only new to theater, they played more than one role—a technique that demonstrated their refreshing originality and versatility.

One interesting advantage of this originality is that every member of the cast is absolutely focused on the members of the audience. The actors incorporate the viewers themselves into the show by speaking directly to them, often with provocative challenges. Along with its willingness to directly face critical issues of race and culture, this uncommonly deep engagement with the audience provides a vital spark of life to “The Colored Museum.”

—Staff writer Mary A. Brazelton can be reached at mbrazelt@fas.harvard.edu.