‘For Colored Girls…’ Review: Broadway Revival of Ntozake Shange’s Riveting Work Reminds Black Women They Are Enough

Anna Tingley If you purchase an independently reviewed product or service through a link on our website, Variety may receive an affiliate commission. Sandra Bullock and Channing Tatum’s adventure comedy “The Lost City” arrives on Paramount+ today, following a surprise box office success last month.

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The Broadway revival of Ntozake Shange’s for colored girls who have considered suicide/when the rainbow is enuf, will close on Sunday, May 22, several months earlier than originally planned.

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Wilson Chapman editorThe bar at the August Wilson Theater, a lounge the theater’s owner Jordan Roth opened last year, was quiet after the curtain fell over Broadway’s first revival of “Funny Girl.”Save the chatter of interviews to the press and some small talk over sandwiches laid out for those who stayed behind, the atmosphere inside the theater in New York City on Sunday was hushed, subdued even, after the opening night of a historic musical: For the first time in 58 years, not since it first opened with an unknown Barbra Streisand in its leading role, “Funny Girl” is again on Broadway.Directed by Michael Mayer with a revised book by Harvey Fierstein, the revival stars Beanie Feldstein as Fanny Brice. In the lobby of the theater, leaning against the wall after a barrage of press and her opening night bows, Feldstein could use a second to breathe.“I’m a woman who needs to be distracted,” she said, thoughtful and sincere with her words.

Michael Appler On September 15, 1976, Ntozake Shange’s “for colored girls who have considered suicide / when the rainbow is enuf” opened at the Booth Theatre, forever reshaping the form and feel of American theatre. On Wednesday evening in New York City, “for colored girls” returned to the Booth Theatre for its first exuberant revival on Broadway.Then, “for colored girls,” a collection of poetic monologues, set the Broadway stage for Black women to speak and introduced a theatrical form made for its telling: The “choreopoem,” a device of Shange’s invention, bent the conventions of spoken word, poetry and dance to the needs of Black women.

Frank Rizzo “You ever feel like there’s someone watching from the shadows?” asks Beanie Feldstein’s Fanny Brice, as haunting apparitions from the Ziegfeld star’s past waft in and out in a kind of “Fanny’s ‘Follies’.”The problem with this uninspired revival of “Funny Girl” — which opened at the August Wilson Theatre on Sunday, marking the show’s Broadway return after nearly 60 years — is not simply the singular ghost of she who shall not be named. (Alright: It’s Barbra Steisand.) Rather, the issue here is the production’s inability to live up to its star-making potential that would have made us once again forgive the simplistic, sentimental and sanitized original book credited to Isobel Lennart.

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An awkward question nags at audience members during the play “for colored girls who have considered suicide/when the rainbow is enuf”: 90 minutes with no intermission. At the Booth Theatre, 222 W 45th Street.Just how relevant is this show anymore?The sluggish revival of the 1976 drama, which opened Wednesday night on Broadway, doesn’t make a particularly compelling case for its up-to-the-minute-ness.  The play comes across, unfortunately, as an antiquated time machine that’s at odds with the current conversation.

Director and choreographer Camille A. Brown and her cast of seven female singer-dancer-actors breathe life and vitality into Ntozake Shange’s still-potent mid-1970s touchstone for colored girls who have considered suicide/ when the rainbow is enuf. Opening tonight at the Booth Theatre on Broadway, Shange’s fantasia of poetry, dance and stories of confession, defiance, sisterhood and, above all, perseverance, holds a power that’s not been weakened either by decades or the loss of a once startling newness.

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Jay Binder, whose more than four decades as a prominent Broadway casting director included finding just the right talent for such productions as The Lion King, Beauty and the Beast and Jerome Robbins’ Broadway, among many others, died peacefully today at his home. He was 71.

For Colored Girls, Ntozake Shange’s brilliant work isn’t even just a play, but rather a series of monologues that also incorporate music and dance.The show is a modern-seeming musical of sorts, and it’s impressive that it still feels fresh and timely, as it was originally performed in New York in 1976. The title features seven women who have all faced adversity due to sexism and racism, and while everyone should see it, the event is not running very long, just for 20 weeks.A post shared by for colored girls – Broadway (@forcoloredgirlsbroadway) LGBTQ audiences have a lot of reasons to go see Take Me Out.