THE 1041C Theater Reviews

Walking out of that crowded subway station, following my professor and a few friends, I really did not know what to expect from this evening. Pass the turnstiles, up the escalators and through the brightly lit tunnel we finally reach the outside. The cold but refreshing night breeze snapped me out of the trancelike state induced by the stuffy subway air. The first sight that greeted us was Lincoln Center in its entire splendor. Lincoln Center was pretty in the daytime but it was absolutely stunning at night, the brightly lit fountains, the glowing glass building. Into the lobby, up the stairs, pass the ushers, and on to the cushioned theater seats, here we are, let the show begin.

The lights dimmed and went dark until only the stage was lit. Out come Jacques Cornet and Cupidon Murmur with their banter between master and somewhat highly regarded slave. This introduction was iconic of the performance that was to follow. The interaction between Jacques and Murmur was hilarious to say the least. The way that Murmur manages play the role of both humble servant and long time friend is very impressive; I give the actor a lot of credit for being able to do this. Jacques has a very strong stage presence; he is able to grab the entire audience’s attention with his amusing arrogance and selfishness. But somehow the two characters managed to create a balance that lasted throughout the entire play.

The stage goes dark, but just bright enough for the audience to see the props rise out of the trapdoors on the stage. I must say, no matter how many times this occurs throughout the play, it never ceases to impress. The scene with the prostitutes portrayed the element of sex that was going to be a central aspect of the play. Personally, I thought this could have been done better than having the women swarming around Jacques Cornet in their undergarments. Throughout the play, it becomes evident that prostitutes are not the only women who were attracted to Jacques. Virtually every woman, many being wives, within the play gives into to Jacques’ advances. Ironically enough, not once does Jacques seek to satisfy his urges with his own wife.

During this scene, the first shift between settings occurs, when the stage suddenly goes dark and the props are hurriedly removed from stage. Out comes Napoleon Bonaparte, played by Triney Sandoval, in his bathtub, trying to develop strategies for his military campaigns. His lack of civility when dealing with people within his close circle is very amusing. The way he barks at his servant and wife alike made me laugh numerous times. The way that his narrow mind led him to curse a variety of British creations, even creations that were ahead of his time was really entertaining. This anachronism would be a source of humor throughout the entire play.

The lighting was very important throughout the play. By dimming the lighting of the stage, the transitions between scenes could be done without lowering the curtain. By selectively dimming the lights, the audience attention was directed or redirected to different locations on stage. But perhaps the most important function of the lighting is giving the stage the full effect of the setting. I particularly liked when the entire stage was drowned in white light to signify the white spaces on the map. Towards the climax of the film, when the ghost of Jacques’ half brother appeared on stage, the lighting was used to convey to the audience a sense of fear and foreboding.

Overall, I found the performance very entertaining and stimulating. It was a historical play but was not so centered on portraying the historical aspects of it to lose my interest. A few liberties taken on the part of the writers did not take away at all from the overall effect of the story. The one aspect of the play that bothered me was how much sex was incorporated. I found that the sexual aspects of the play actually did not add much to the story and did not need to be emphasized as much as it was. But the other aspects of the play more than made up for it.

A Free Man of Color was an entertaining and amusing experience to sit through and there was barely a dull moment to be found in the production. It was always fast-paced and laden with enough humor to keep the audience’s attention at all times. All the characters provided entertainment in their own way and there was not one character who I would describe as uninteresting, even the minor ones managed to catch your interest for at least one moment.

As the play began, the aspect that first caught my attention was the well-crafted set: an elaborately decorated living space with a busy atmosphere that really caught the sense of fun and fine living. The use of the stage’s mechanisms such as trap doors provided a quick and effective method of indicating scene changes, as the entire set can transform into a completely different environment within only a few seconds. The use of the trap doors as actual parts of the story, such as a hidden safe or entrance to the underside of a ship, were also clever uses of the stage’s machinery to add to the play. Another set that particularly impressed me was the bayou area, with the dilapidated houses and buildings in the background. These were actually made of nothing more than wooden boards put together in such angles as to create the illusion of depth, making the background props seem to stretch further into the back than they truly were. However, the swamp set, which consisted of vaguely vine shaped green objects hanging from the ceiling seemed to leave a bit to be desired. I felt the vines looked a bit too cartoony and more like large foam cut outs of green blobs than vines. Then again, the characters searching through the swamps with nothing more than the lights of their lanterns provided an ominous effect to the scene, which really added to the suspense of the climax.

As for the characters of the play, many of them were very entertaining and enjoyable to watch. Jeffrey Wright, who played the lead character Jacques Cornet, delivered his performance perfectly, managing to make a lecherous, deceptive man into a fairly charming and likeable character. Wright performed the role of a boisterous, self-obsessed aristocrat to the best of anyone’s ability and watching this in action was a highly entertaining experience. I also had particular fondness for the character of Napoleon, presented by actor Triney Sandoval as a miserable, over-compensating caricature of the French emperor. Although not a prominent character in the play, he had a major role in the plot, and the antics he performed as he was making major political decisions served as humorous juxtapositions of silly actions and serious matters. I especially enjoyed the scene wherein Napoleon is in the background, walking across pans of water that his soldiers obediently lay down before him in fear of scorpions scurrying across the grounds of Haiti. Another character I enjoyed was Zeus-Marie Pincepousse, the jealous half-brother of Jacques Cornet. Although an antagonist, Pincepousse is portrayed in a pitiable role, as the son of an aristocrat whose inheritance was given not to him, but instead to his enslaved half-brother, and if losing his fortune to him wasn’t enough, Cornet later steals the heart of his beloved wife. Reg Rogers plays the character of Pincepousse well, being able to express his conniving side without sacrificing sympathy for the character, who the audience should fully understand seems to be justified in his anger.

The writing of the play is another exceptional trait, with its witty banter and clever use of double entendre. Almost no character seemed to lack some sort of humorous moment and it’s hard to say that any part of the play was boring. Each character seemed to have a role in the story and none seemed to have been extraneous to the plot.

But going away from the praise, there were some things I felt were not quite up to par. As far as characters go, I would say the least interesting one would have been the Haitian revolutionary Toussaint L’Ouverture,” played by rapper and actor Mos Def. This is no downplay of the character’s importance or the actor’s acting ability, but more that L’Ouverture’s personality seemed out of place. Here we have a play with a multitude of outrageous and exaggerated  characters and there’s this one man who plays his character seriously in every scene he’s in. That’s not to say serious characters are not acceptable in such a production, but if they are present they usually can gain humor from their interactions with the more eccentric characters, such as Murmur’s (also played by Mos Def) dynamic with his master Cornet. L’Ouverture never has any scene in which he has a comic foil to his straight man routine, and so he just seems to be a character from a historical drama who somehow stumbled on the set of a historic comedy.

Another part of the play I felt was a bit poor was the ending. The ending seemed to drag on for a lot longer than necessary, and I couldn’t help but feel that certain parts of it, such as the scene in which Cornet is pleading the various historical figures to find some way to free him, could have been cut down a bit. I think the ending was a good one, and effective despite the mood whiplash it presents in comparison to the previous lighthearted humor of the first act, but it loses a lot of its impact from the fact that it goes on for so long. It seemed so odd to me, that my attention had been firmly grasped for the majority of the play, but as it neared the ending and I started becoming unsure when it was going to end, my interest started to slip away. I found myself not caring about what Meriwether Lewis had to say about his thoughts before suicide (I’m not even sure if that’s what he was talking about) and eventually losing my interest in Cornet becoming enslaved, more interested in when he was gonna get sold off so they can finally end the scene.

Other than those few things I didn’t care for, “A Free Man of Color” has certainly been placed in one of the top most enjoyable plays I’ve seen. Considering the one I watched was one of the earliest releases, I hope that later performances will address some of the issues I raised and make the play more streamlined.

Free Man of Color are one of those few artistic creations that grasp you intention from the beginning to the end.  When i sat down in my seat i expected a serious play because the set and lighting prior to the performance set an eerie feeling.  But when the play started I could tell that this would be a fun and entertaining play.  The entrance of the main character Jacques Cornet and Cupidon Murmur really signified what the play would really be about.  Both of the actors, Jeffrey Wright and Mos Def respectively, did a great job of making the audience laugh and in a sense prepare them for the play.  The costume designs for Jacques Cornet were flashy and beautiful and it also portrayed what kind of a character Jacques Cornet is.  It signified his boasting personality and his value on materialism.  There were also many other talented actors in the play that I had no idea would be in the production.  Joseph Marcell, known as the butler from Fresh Prince of Bel Air, Paul Dano, from the critically acclaimed movie There Will Be Blood, Mos Def, a commercially successful hip hop artist and many more.  Many of these actors were highly qualified in their fields and were experienced actors who really brought the show to life.  The play itself was ingeniously put together.  Side by side comparisons were done at the same time, a character might freeze and other characters around him/her unfreeze and start their own scene.  This gave a chance for the audience to make connections between these characters, who might seem unrelated but in reality had many similarities that wove the whole play together.  Joseph Marcell’s character cleared up any misconception the audience might have of the scene and adequately explained the scene on hand.  The set design created for the play was also beautiful.  The most vivid scene i remembered was when Jacques Cornet was running through the New Orleans swamp.   A series of distorted fabrics and neon colored background gave the same ominous feeling of the swamp, it brought the play alive.  Throughout the show there were many great laughs but the depravity of the climax really grasped the audiences attention.  Throughout the play, the main character created this happy mood by telling jokes, his relationships with woman, and how he treated his friends and family.  This all comes crashing down in the end, with the destruction of Jacques Cornet brought by America.  The end was a climactic moment that made the audience think about American politics and history.  It certainly made me want to learn more about the past and culture of New Orleans and America itself.  It made me think, a task that many play’s don’t accomplish.

The Lincoln Center’s production of John Guare’s A Free Man of Color is marked with colorful sets, costumes, and dialogue.

A tale of one man’s triumph and plight in nineteenth century New Orleans, A Free Man of Color provides viewers with an insight into the life of Jacques Cornet, a half-black man who has purchased his own freedom.

While it seems Guare intended the play to be a tragicomedy, it isn’t able to successfully strike the balance, and turns out to be more of a melodrama. With the exception of the last act, in which Cornel suffers a debilitating end at the hands of the American government, the play has an extremely light-hearted tone that does not mesh well with its conclusion. The jokes are so over-the-top that it is surprising that Guare would chose to approach such a serious issue in this light-hearted a manor. If he had intended on keeping it comedic from beginning to end, that would have been one thing, but the sharp turn that the play takes in its final moments is as sudden and unsettling as being forced on a death-drop rollercoaster when all you’ve ever known is the merry-go-round.

That said, the set design is brilliant and perhaps the best element of the production. The wide range of sets employed is particularly notable, from well-endowed Cornel’s manor, with a very colorful array of nineteenth century furniture, to the empty expanse of the Great White North. The props used are equally elaborate, from the grand roll-out maps to the portrait frames from which many actors make their entrance.

The costumes are equally well put together, with many of them leaving little to the imagination.

The stage direction was superb as well; the actors are able to maneuver around and change the complicated sets with conviction and ease.

While none of the actors deliver Tony-Award winning performances (though that might be near impossible given the material), the acting is certainly not lacking. It was good to see the familiar faces of Joseph Marcell and Mos Def, who were excellent in their respective roles. Lead Jeffrey Wright as Jacques Cornel is equally exceptional. Particularly impressive is Paul Dano, whose role as Meriwether Lewis, President Jefferson’s aid, gains increasing significance as the plot unfolds.

Thus, while the historical accuracy is lacking in places, along with a less-than sturdy plot, if for nothing else, A Free Man of Color is worth attending for its high production value.

Twas a sweet deal indeed to go see a show at Lincoln Center without paying. Also, I got to wear a white suit jacket and it was fly as hell. But I’m actually going to talk about the play. To be honest, I was very confused at the beginning of this play, because, for whatever reason, I was under the impression that it was going to be an opera. It took me about 5 minutes to realize that it was not. I’m quick, I know.

The style of acting one has to commit to on stage is very different from the style that one would go with on film. Sometimes, the stage-style bothers me, because it often times involves over-acting. This was not the case at all. From the very get-go, I was immediately sucked into the play. The two men who started the play were both hilarious from the start. I thought one of them looked like Mos Def, and I spent the entirety of the first act wondering to myself, “Damn, is that Mos Def? I think that might be Mos Def..” (Spoiler alert, it was Mos Def. Yahoo!!) The chemistry between the two men was always funny (until the end, of course, but I’ll get to that later) and I found myself liking each and every character. This doesn’t mean that all the characters were necessarily nice, it just meant that the characters were well played. For example, Thomas Jefferson was kind of rude and screwed over Toussaint L’Ouverture, but I liked the character. He was an essential part of the play. Everyone played their roles.

Overall, I thought the direction was decent. My only problem was how the scenes changed. Action could be happening on one side of the stage, and then the setting would change to another country, and the lights would go off on one side of the stage, and then go on on the opposite side. And Napoleon would be in a tub or something. Perhaps that has more to do with the size of the stage, though. Other than that, everything was fine. The blocking and movement of the actors always seemed natural and appropriate. The pacing of each scene was smooth (never too fast, never too slow).

The theatre itself was rather nice. There were seats surrounding the stage (I’ve performed in a theatre like this before, the Westchester Broadway Theatre. It’s great to be able to play to all sides of the stage). The audience was alive, and laughed at all the jokes, which is always good. It’s almost as bad to be in an audience that doesn’t “get it” as it is to be performing to one. Like I said earlier, the stage seemed a little bit small, until the “white spaces” opened up. I’m not sure how much larger the stage actually got, but once it happened, everything looked so much more open. So mission accomplished by the set design team. The set pieces were all fitting for the time period, as well as the costumes. They all matched each other (although not necessarily in color, more in design). The lead man always had the most vibrant colors to wear, which brought nice attention to him, and really made him stand out.

(By the way, I spent all of Act II geeking out about Mos Def.)

My only comments on the lighting are one two things that happened at the end. To be honest, I did not take note at all of the lighting throughout most of the play. But when the white spaces opened, everything became so much brighter, and I thought it was brilliant. It really helped me as an audience member identify with the fear and wonder that Lewis felt when he went to explore the newly purchased Louisiana territory. My other lighting note involved the big American flag. The whole stage was bright again, but this time with red, white and blue. I felt the impending doom that Jacques Cornet was about to understand (because I knew what actually happened in history, unlike the character).

The humor and wit of the play carried nicely throughout, until the very end, when things took a serious turn. I had no idea that it was going to end in such a way. The pivotal in which Mos Def turns in his master was absolutely heartbreaking for me. You could really see the relationship that they once had in one scene, and then the next, it was gone. When Cornet vanished for a period of time, he had no idea that his world would be turned entirely upside down.

Just before the play ended, I thought to myself, “Wow, I really liked this play.” But by the end, I thought to myself, “Wow, I really loved this play.”

Is that the butler from Fresh Prince of Bel-Air? Wait, is that Mos Def?!

Seeing Joseph Marcell and Mos Def was definitely a shocker for me, I did not expect to be watching any actors I would actually know. Majority of the actors did a very good job in keeping me from realizing that it was all just a play. The only times where I was reminded that I was merely watching a play and not reality unfolding was when a few of the whores started to overreact. The play ran through smoothly with actors making minor mistakes.

The use of props and scenery definitely helped to convince me of the play’s realism. When they were at Jacques Cornet’s house there were lavish decorations, when they were at sea there were ship masts and when they were traveling through the unknown territory there was barren land and a rock. I also adored the costumes they used throughout the production. Each person’s outfit matched their character: Jacques Cornet was luxurious and showy while Dr. Toubib always looked strictly professional.

One of my biggest problems with this play was that I did get lost a few times. There was so much going on and although they explained everything for the most part there were still scenes where I was a bit fuzzy as to the who, what, where and why. I felt as if some parts were cut too soon and others dragged on for too long. Sometimes scenes switched over so quickly that I lost track of the storyline.

Overall the play was a pleasure to watch and a great experience. I have not watched a live performance (besides Disney performances when I’m in Orlando) in quite some time. Watching A Free Man of Color brought back memories and re-sparked my interest in watching theatrical productions.

I’d been to Lincoln Center before, the place brought back many memories. The 1 train to 66st lincoln center was my journey every day of high school. I had seen a martial arts performance, two operas, the nutcracker, and had graduated at Alice Tully Hall. And yet it did feel significantly different from the times before. I had never been to that specific venue, and I had yet to see a non-musical play there.
I was unsettled by the rudeness of the usher, getting very uptight that we were not sitting in the proper seats, even if we were obviously a group. The prerecorded music took away from the authenticity of the production, and was somewhat disappointed. As the show began, however, I was quickly drawn into it.
Although I did find myself fading from time to time, and just assuming the general actions rather than listening to constant mini-monologues of the main characters, it was a relatively entertaining and interesting story. Cornet’s voice was vaguely irritating. His accent was quite strange.
Mos Def was a surprisingly great actor. He provided an elegance as well as humble strength to both the characters of Murmur, the slave, and Toussaint Louverture. I was impressed.
I thought the parts with Napoleon, Jefferson, and Livingston were a bit contrived. It was slightly humourous but more so corny.

By far the best part of the play were the costumes. The prostitutes and Cornet’s playboy mentality was almost reminiscent of Les Liasons Dangereuses. Also, one great part that made my heart quicken was the “great white space” that Lewis ventures into. Whoever created that set design I am incredibly admirable of. It not only created a sense of infinity but also added a sort of deafening quiet.

As the play ended and people began to applaud, I would have to say I was disheartened. I did not feel the sort of bursting applause that I sometimes get after amazing performances. I’m not sure if it was because the conclusion of the story lacked real impact (for I already knew what was going to happen), or if it was the overall play itself. Nevertheless, I enjoyed the outing as a whole, was entertained and would consider a positive outcome.

Pretty lighting. Water fountains. People dressed up. New York City. I was in heaven. It was a beautiful scene, outside of Lincoln Center’s Vivian Beaumont theatre. I was exhausted and breathless from running around in 4-inch heels, but I was driven by a giddy sense of pleasure, and adventure, that I felt about going to see a well-reviewed play with my friends. The play will last until 11 pm, but it will be a great experience. I will enjoy it and I will create lasting memories, about an excellent play, and an epic night of fun with well-dressed friends.

That’s not exactly what happened, but what did was all right. I expected something spectacular, something I was sure to enjoy and remember, and that was what we got, at least at first. The play began on a high note. Two of the three actors I thought were excellent, Jeffrey Wright as Jacques Cornet, and Mos as Cupidon Murmur, came on stage and set the bar for the performance. They were amazing. When the scene changed, the production reached what I believed was its height- the moment the props came out of nowhere. I was surprised and amazed. I was very impressed by the sets, my favorite part of the production. I did not expect such a strategic use of props. It was not difficult to distinguish between scenes. Transitions were executed smoothly and easily. With the simple addition of a few plants and background music, the stage was transformed into a tropical island. Portrait frames dropped from the ceiling and created a grand backdrop for the “house” scenes. The floor moved, couches and beds appeared out of nowhere and a platform moved towards the audience- it was impossible to overlook the creative, innovative use of machinery.

Unfortunately, the excitement did not last. Once the whores came out and performed their dialogues, it became almost painful to watch. While the directors and stage managers executed their jobs flawlessly, the actors just did not meet my expectations. As they said their lines, and moved around the stage, I was annoyingly aware that they were acting. It was predictable- I felt them count down their pauses, I knew when they were going to raise their voices. They were overacting. Aside from Cornet and Murmur, the only other standout was Wendy Rich Stetson as Lady Harcourt. Her “bah-doom” was memorable. She was genuinely funny.

Despite the fact that the play ran from 8-11 pm, it held my attention quite well. Only the middle hour or so disappointed. The plot became difficult to follow. It was, in my opinion, too long and became increasingly uninteresting as it went on. The lackluster acting did not help. It was quite upsetting to realize that my expectations were not met, but maybe that was a fault not entirely theirs. I realize that some other members of the audience really enjoyed the play, but I just was not one of them and that, I truly regret.

Despite being crammed in a tiny seat and nauseatingly dizzy throughout the play, I have to say I enjoyed it. One thing I absolutely adored was the set design! It was intricate and technical and so aesthetically pleasing. I’m a huge fan of visuals and this play provided me with all the elements of set design and costume that I look for in a play. The sparkly buckles in their shoes, the royal purples and golds and maroons in Jacques Cornet’s exquisite wardrobe, the plush pillows and chaise lounges, the set transforming from a dining room into a bathroom in a matter of seconds. That was probably my favorite part of the play. I was constantly trying to get in the mindset of the set designers and stylists and wondering what their thought process was when they picked out all of these little details that made the play the beautiful vision that it was.

The lighting was also amazing. You could tell that a lot of thought went into the different lighting and the moods it created onstage. One scene I particularly remember was towards the end when a massive American flag made up the background and the lighting was cast so that the shadows of the characters onstage were shown on the flag. The shadows gave drama and height to a particularly dramatic moment in the play.

These various aesthetic elements are what really set apart this play from Medea for me, which lacked any décor or lighting or costumes.

The acting is another element deserving of praise. The cast was a mix of diverse performers with amazing credentials in film, television, and plays. It was interesting and pleasantly surprising to see Mos Def play the role of Murmur. I actually found out that him and Jeffrey Wright, who plays the infamous Jacques Cornet, were both in the movie Cadillac Records, playing Chuck Berry and Muddy Waters, respectively. These two characters are very different from the ones they portrayed in the play and I think it just shows the variety and power of their talent.

Despite being the two main characters, they were not the only talented people in the play. I think that all the supporting characters, from the wives to the prostitutes to all the foreign presidents and ministers, really made the play what it was.

And what exactly was it? It was funny- with all the sexual innuendos and jokes, it put the audience in a lighthearted mood without being too crude. It was well decorated, but I’ve already exalted that aspect of it. It told a historical story through a fresh and interesting perspective, which is perhaps why it was so effective as a play and didn’t fall flat or become just a boring history lecture.

My only criticism is that it was a little bit lengthy, but if I went to see it on a day when I didn’t have school and had time to eat lunch that day, perhaps I wouldn’t mind that aspect of it because all the good elements overpowered the bad.

Overall, the play managed to combine an important message about race, give a historical lesson, provide admirable visuals, and make us laugh. That’s pretty successful in my eyes.

While dashing at a fashionably late hour through the elegant Lincoln Centre, I felt both excited and nervous to be part of the audience of A Free Man of Color. A Broadway show was intimidating for me because this was the first time in four or five years that I was going to be engaged in a theatrical performance such as this. The entire professional mood that I was put in was quite different than the mood felt at Baruch’s BPAC. The diverse audience, which included two of Ghana’s citizens dressed in ‘cultural dresses’ (who were interviewed by me during the sole intermission), seemed to be filled with cultural and intellectual people from all over. The impression I received of the Vivian Beumont Theatre continued when I was escorted to my tiny seat with a flashlight. As you can tell, even before the performance began I was electrically charged into a mood ready to explore the world of New Orleans and Jacques Cornet.

The adjective “interesting” does not capture the positive energy felt through the audience. The length of the play was disregarded through the laughter, the famous actors and actresses, and the satire of historical figures. The props, which included gates, lamps, windows, doors, rocks, flags, and much more added on to the play that made you feel like you are an 1803 New Orleans settler about to start a conversation with one of Cornet’s business partners. The amazing ability of the director to transition between scenes using a select amount of tunes helped your brain with a nice number of seconds to adjust. I enjoyed the costumes of the people working with moving the furniture and other props used during the transitions, because the director even focused on these people to add to the play. With a love for detail, I also enjoyed the lighting used. The different colors in different scenes helped express the tone and feeling of each character. For example, in the scene where the French ships carrying the Yellow Fever were introduced in American waters, the lighting was all dark and scary. The props of the hands reaching for savior represented the evil world outside the fantasy the New Orleans people were experiencing. All these small extras really helped get the audience’s minds rolling to think about the 1800s and the cruelty of the time.

My favorite character was definitely Cornet, who was played by Jefferey Wright. Wright had a remarkable way of using his reputation as a wealthy Don Juan in New Orleans to attract all the wives of his loyal businessmen. Wright also had amazing direction of body language added on to his moves on the women. Wright was a real Don Juan, from the hysterical seductive lines, especially in the scene with the female scientist, to the outrageous costumes and designs; Wright was a 10 out of 10. Another character that I enjoyed viewing was the Murmur, or the famous rapper, Mos Def. It was interesting to see a director’s choice of a rapper to play a slave. I loved the transition Mos Def had to deal with from being a Haitian leader to a slave through specific scenes and his facial expressions during hysterical dialogues with Cornet. The characters made me feel like I made the right choice in spending 3 hours of my Thursday night.

The wacky sexual encounters were disturbing and somewhat “too much” for me but I feel like that is what the American society is all about. Otherwise, the overall extravagant costume, outrageous props, and the comedy and word choice in the script made the hysterical play, A Free Man of Color, a play I would suggest to others who do not mind blunt sexual disturbances.