The Black Underground Theater took an often hilarious stab at racial identity and stereotypes this weekend at the Collis Common Ground with their high energy performance of George C. Scott's "The Colored Museum."
The play, directed by Mia Shelton '98, consisted of 11 separate skits that took a primarily satirical look at black culture.
The play opened with a series of slides depicting the atrocities of the slave trade, which led into the first skit, "Git on Board."
In the skit, Devin Willis '00 gives an excellent, over-the-top performance as a cheery stewardess aboard a slave ship. The in-your-face satire of the piece, in which the "Fasten Your Shackles" sign is flashed, gives the audience an idea of what to expect.
Christian Felix '99 put on a very daring performance as the angry "snap queen" Miss Roj. She uses the power of her snaps to escape the misery she sees around her. Felix pulled the part off convincingly, rivaling RuPaul in the attitude department.
The funniest piece by far was "The Last Mama-on-the-Couch Play," a satire of many earnest black message films. Doreen Hopkins '00 played the stereotypical, bible quoting mother and Scott Ennover '98, her angry black son. The skit makes fun of all the overacting and over-moralizing done in black films. Then the piece erupts into a riotous musical number because "no one dies in a black musical."
Yet, as great a job as Shelton did in getting the comedy out of Wolfe's writing, she also managed to bring out the serious aspects of his work. Steve McKoy '98 gave an excellent serious turn as a black soldier who sees both the horrifying battles and terrible lives black men will face afterwards.
Black identity is explored in both "The Hairpiece" and "Symbiosis." In "Symbiosis," McKoy played an educated black man denying his former street self, played by Ennover. "The Hairpiece" has a black afro wig debate a brown, straight wig as to whom their owner will wear. The piece is suggesting the many acts a black woman must put on in order to get by.
One skit that faltered would be "Lala'a Opening," in which Shelton's own strong performance could not save Wolfe's very long and meandering writing.
Generally, the cast's willingness to make the audience laugh and think at the same time made for a great theater experience.
