‘Thoughts of a Colored Man’ @ Jubilee Theatre
—Rickey Wax
Father’s Day is approaching, and I have Jubilee Theatre to thank for finding the perfect gift, an afternoon of theater.
In their 43rd season, Jubilee takes on a new and critically acclaimed show, Thoughts of a Colored Man by Keenan Scott II. Scott grew up in Queens, New York, and his artistic endeavors are deeply influenced by his upbringing and the diverse narratives within his community. Scott’s work often addresses themes of identity, masculinity, and the intersection of race and society—and this show is no different. Masterfully directed by D. Wambui Richardson and assistant director Kris Black Jasper, the play attempts to answer the complex question: “Who is the colored man?”
Thoughts of a Colored Man is a poignant, layered, and deeply resonant exploration of the Black male experience in contemporary America. The play’s structure is unique, creating a rhythmic and dynamic storytelling experience. This format allows for an intimate and immersive experience for the audience. The play aims to provide nuanced and authentic portrayal of Black masculinity, addressing issues such as racism, homophobia, societal expectations, and personal struggles—while also celebrating the strength, resilience, and moments of joy and solidarity within the Black community.
Set-in present-day Brooklyn, Thoughts presents a series of interconnected vignettes, scenes that take place at a barbershop, a supermarket, a hospital, a bus stop, and even a line at the shoe store. One of the central themes is the impact of systemic racism on the lives of Black men. The play does not shy away from highlighting the harsh realities of discrimination and prejudice, showing how these forces shape the characters’ lives and perceptions of themselves. Scott makes it clear that there is no single, universal Black experience; instead, the play showcases the individuality and complexity of each character.
The actors in Thoughts of a Colored Man deliver compelling performances, bringing their respective characters to life with depth and vigor. At the top of the show, we are introduced to Anger (Octavian Lewis) and Happiness (Joshua Blocker). Lewis’ portrayal of Anger is visceral and unflinching. He captures the characters’ frustration and rage with a powerful intensity as he recites the poem “Nice” while accompanied by his fellow actors. Blocker’s interpretation of Happiness is infectious. His character exudes a vibrant energy that lights up the stage, providing moments of levity and joy amidst the heavier themes. His charisma and charm made him a beacon of light in the narrative, but he doesn’t act the part as a “camp” role—which was my gripe with the original Broadway production.
Lust (Wes Frazier) and Love (Reginald Dunlap) are fun to watch as they reveal their individual strategies for “catching women”—each with completely different bait. Frazier embodies Lust with a mix of convolution and allure. He encapsulates the character’s magnetic appeal and underlying insecurities, adding layers to what could have easily been a one-dimensional role.
Dunlap’s portrayal of Love is tender and heartfelt. He’s the cheesy romantic we instantly fall in love with. His ability to convey vulnerability and warmth through his whimsical tone stands out, making his character relatable and endearing. His scenes are imbued with a sincerity that resonates deeply with the audience. My favorite thing about his performance is his physicality and use of space on the stage. He was never in one spot for too long and kept the inner life of his character going- even when he wasn’t speaking.
The next duo—Passion (Davian Jackson) and Wisdom (Selmore Haines III)—perfectly nail the father son dynamic. Haines’ brings a gravitas to the role of Wisdom, marked by a quiet strength and profound insight. He commands the stage with calm authority—a good counterbalance to the fervor and zeal emanating from Jackson (who also has an amazing singing voice).
Depression (Davayun Chase) is the singular thread that ties this show together and gives it a jaw-dropping moment at the end. His ability to build his character arc right in front of us is remarkable, and not easy to pull of as an actor. He brings a raw honesty to the role, portraying the character’s struggles with a stark realism that is both heartbreaking and relatable—evoking empathy from us as the audience.
The design elements of the show excited me, especially because I’ve seen it multiple times. Each character has a color to represent their emotion. The color palette created by costume designer Hope Cox is particularly striking, with each character adorned in a hue that symbolizes their journey. The “coded” colors enhance the visual appeal and serve as a storytelling device that allows for a deeper connection with the audience. Colin Schwartz (technical director), Nikkie DeShea (lighting designer), and Jennye James (scenic designer ) ably create an evocative backdrop that shifts among various urban landscapes of Brooklyn.
The use of projections (by Holli Price) creates a dynamic visual experience that complements the narrative and keeps the audience immersed in the story. Kiandra Brooks (choreographer) ingeniously incorporates stepping into the play transitions, infusing each scene shift with rhythmic footwork and synchronized claps—creating interludes that captivated the audience. This creative choice kept the momentum of the play consistently high, ensuring that even between scenes, the actors’ energy remained palpable.
Thoughts of a Colored Man resonates with our ongoing conversations about race, mental health, and social justice. The play’s raw and honest portrayal of Black men’s inner lives challenges stereotypes and encourages a broader understanding of their humanity. As society continues to grapple with issues of racial inequality and seeks to uplift marginalized voices, Scott’s work serves as a vital contribution to cultural dialogue.
Thoughts of a Colored Man has a run time of one hundred minutes with no intermission (make sure to find the bathroom beforehand). It’s an easy gift to give Dad in time for Father’s Day—or to yourself if you enjoy good theater.
WHEN: May 31-June 30, 2024
WHERE: 506 Main St, Fort Worth
WEB: www.jubileetheatre.org
