Showing posts with label black stage play. Show all posts
Showing posts with label black stage play. Show all posts

1/06/2012

Let Me Hear You Whisper (Broadway Theatre Archive) (1969) Review

Let Me Hear You Whisper (Broadway Theatre Archive)  (1969)
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Ruth White was a Broadway stage, film, and television actress with an enormous range of talent. None better than in this 70 minute display. She plays a lonely night cleaner in a science laboratory. She befriends the dolphin and they form a unique communication between them that they understand. The dolphin represents her in many ways. The dolphin is trapped in a pool of water with no where to go. He wants to go to the sea and Ruth's character would do anything for him. If the dolphin does not talk to others, he will lose his life. Ruth's admirable performance is worth watching. If you're a Ruth White fan, you will certainly appreciate this drama. Bil Baird is the puppeteer behind the dolphin and Elizabeth Wilson plays a very cold well-meaning night manager. All of the characters appear to be as lonely as the dolphin in the cage.

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By Paul Zindel. Set in a research laboratory that embodies the mechanical, detached attitudes of the 20th century science, this play tells the poignant story of a friendless, simple scrubwoman (Ruth White) and a dolphin who stubbornly refuses to talk to anyone but her. Despite the earnest attempts of her supervisor to indocrinate her, she cannot understand the cold, intellectual atmosphere. Secretly, she and the dolphin become friends and together strike a blow for love and understanding that baffles the experts. For this production, famed puppeteer Bil Baird created a life-size dolphin puppet that he both manipulates and acts as its voice. The Modern Jazz Quartet improvised and performed the original score.

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1/04/2012

In Fashion (Broadway Theatre Archive) (1974) Review

In Fashion (Broadway Theatre Archive)  (1974)
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A charming period piece on many levels- a look at the 1890's from the perspective of the 1970's. Pleasant songs, none of which go on too long (except one- on purpose) and a very capable cast. The romantic lead is Daniel Davis, who might surprise those who know him as Niles the butler in THE NANNY, or Professor Moriarity on STAR TREK. Likewise Charlotte Rae (from THE FACTS OF LIFE) reveals a remarkably good singing voice behind her comic facade. The quality of the image is quite good, with the usual dificulties of shooting a live performance. There is one tape glitch about midway through, but I'm thankful that this minor gem survived.

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By John Jory. This rollicking musical is based on George Feydeau's turn-of-20th-century farce "Tailleur Pour Dames." Set in Paris shortly after 1900, the plot revoloves around Feydeau's favorite theme of marital infidelity. Full of chance meetings, mistaken identities, little deceits and big lies, In Fashion is a delightful French souffle with bouncy music, witty lyrics, and plenty of laughs. Starring Max Wright(All That Jazz), Daniel Davis (The Nanny, Hunt For Red October), and Emmy and Tony-nominee Charlotte Rae (Bananas), this show was taped before a live audience in New York City.

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12/15/2011

Monkey Monkey Bottle of Beer, How Many Monkeys Have We Here? (Broadway Theatre Archive) (1974) Review

Monkey Monkey Bottle of Beer, How Many Monkeys Have We Here (Broadway Theatre Archive)  (1974)
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The title for this play originates from a counting nursery rhyme that indicates who is "it" or "out", so, it may seem apropropriate for the theme of the play. Five women arrive separately to the basement of a hospital to learn the results of an experiment conducted on their mentally challenged 8-year olds. Little is known to the women regarding the experiment, except that it is "needle to the brain with no pain." So, no one knows how the experiment turned out, which of their sons could be improved or worse. Therefore, the title of counting rhyme may indicate one or another's son may have a different outcome.
The setting is the basement of a hospital, and we listen as the five woman sit in a circle, taking her place, and waiting to be called for the doctor. As they wait in closeness, the women's personalities are soon revealed, why they are in the program, their personal issues, attitudes, doubts, finances, fears, etc. There is some dramatic confrontation. So, the gist of the play is mostly that, sitting, chatting, confronting, while waiting.
The character roles are well-defined in the short time we learn about them, and, the acting is well-done. Toward the end, one woman meets with her 8-year old, and realizes he is changed. However, the kid, about 8 years old is not a good actor and unfortunately he had more than enough lines. His acting was so forced and on the brink of noticeable and irritating. It was highly distracting to the work.
Other than that, the play was nothing too memorable. Playwright Marsha Steiness, who has written about 5 plays, is new to me. ........Rizzo.


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The title for this play is taken from a little known nursery rhyme, which involves a game between mother and child. The drama opens in the elegant reception room of a clinic where five women await a first reunion with their children from who they have been separated for two months. As the scene proceeds, their discomfort escalates; the tension, now palpable, suggest there are more complicated issues at play. It seems the children have been participants in an unusual experiment - never fully revealed. The women continue to wait...collective pawns in a situation over which they have no control. Their personal reactions to the stress reveal much about their characters. By Marsha Sheiness.

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12/07/2011

The Trial of the Moke (Broadway Theatre Archive) Review

The Trial of the Moke (Broadway Theatre Archive)
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Henry O. Flipper (played with subtlety by Franklyn Seales), the son of a white mother and a black father, particularly resented being called a "moke," a crossbred ass, the equivalent of a mule. "Moke," however, was just one of the names he was called as a cadet at West Point. Though there had been other non-white cadets, Flipper was the first to ignore all the harassment and actually graduate. In this play, Flipper is in his third year as a lieutenant in the army, stationed at Fort Davis, Texas, and his race has become an issue. A new, grassroots colonel (crudely played by Robert Burr) and a group of uneducated fellow officers frame Flipper, the only black officer, and put him on trial for stealing funds from his commissary job.
Produced in 1978, this play by Daniel Stein, set in 1881, illustrates the depth of resentment against educated black men, even in the army. Seales carries the weight of the play's message, but he keeps the drama under control, resisting the temptation to push the message by "emoting" for dramatic effect. Instead, he portrays Henry Flipper with the dignity and self-respect which were his due. Alfre Woodard sensitively portrays Lucy, the black maid who is attracted to him, representing Flipper's opportunity to become part of black society and anchoring the play thematically. Johnson Whittaker (Samuel L. Jackson), a fellow cadet at West Point, appears and reappears as a ghost through Flipper's memories. Whittaker was dismissed from West Point when Flipper did not support him in a trial.
Black/white issues permeate the visual aspects of the drama, which features tasteless entertainments starring a white man in blackface playing Frederick Douglas, "the head of the Miscegenation Society"; blackfaced minstrels appearing in black and white (though the rest of the film is in color) as ghosts during Flipper's trial; and repeated references to "twilight," when the day is part white daylight and part black night. The trial is a foregone conclusion from the beginning, but Flipper and his lawyer fight the authorities for weeks.
A true story, the play, directed by Stan Lathan, drew public attention to this injustice when it was presented by the Milwaukee Repertory Theater in 1976, and was instrumental in having the court martial reversed, posthumously. Flipper, after serving as a respected mining engineer, was reburied with military honors later that year. The acting is superb, the production is thoughtfully presented, though a bit didactic, and the message is still pertinent. Mary Whipple


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By Daniel Stein. The Trial of the Moke is based on the real life story of the humiliation and anguish suffered by Lt. Henry Ossian Flipper, the first black graduate of West Point. Assigned to serve at Fort Davis, Texas in 1881, Flipper became the object of a conspiracy to rid the base of its only black graduate. Flipper, portrayed by Franklyn Seales, was framed by white officers who accused him of embezzling government funds. Ninety-four years later, Flipper was vindicated only a week after "The Trial of the Moke" ended its world premiere run at the Milwaukee Repertory Theater in 1976. A military reburial with honors followed in 1978.

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12/05/2011

When Hell Freezes Over, I'll Skate (Broadway Theatre Archive) (1979) Review

When Hell Freezes Over, I'll Skate (Broadway Theatre Archive)  (1979)
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This Vinnette Carroll production, brought to life by a talented 8-member troupe of singers and dancers, features a combination of poetry and song which reflects the African-American experience. Inspiring, at the same time that it is an indictment of the treatment black America endured over the ages, the production celebrates the ultimate triumph of the rich and varied African-American culture.
With music created and directed by Tony Award winner Cleavant Derricks and his twin brother Clinton Derricks-Carroll, the revue showcases the performers and their melodies and rhythms, rather than musical instruments. Hand-clapping, simple drums, and a single piano or sax often provide the only accompaniment.
Joyful and enthusiastic, the music ranges from early chants and marches, as in "When the Colored Band Comes Marching Down the Street," through folk dance, gospel, revival music, blues, and disco. The late Lynne Thigpen is the female anchor, doing a passionate blues solo, her voice a contrast to the soprano of Lynne Clifton-Allen, who "just spreads her mouth and shouts, 'Come to Jesus'" in a gospel song. Clevant Derricks is a powerful interpreter/singer throughout, as is his twin, Clinton Derricks-Carroll, whose stirring bass/baritone inspires both the live audience and the viewer.
The production contains almost as much poetry as it does music, with poems by Countee Cullen, Julian Bond, Nikki Giovanni, and Langston Hughes, among others, enacted by the talented cast. Sometimes humorous and satiric, the poems range from the elegantly expressed to the vernacular, always showcasing attitudes and events which have led to moments of triumph, including domestic triumph. Gracefully blending songs, dance, and poetry, the revue creates a moving and comprehensive tribute to the enduring spirit of Black America. As one singer attests, "You can't put out the fiery spirit [of] my soul." Mary Whipple


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12/04/2011

Sty of the Blind Pig (Broadway Theatre Archive) Review

Sty of the Blind Pig (Broadway Theatre Archive)
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This 1974 production by the Negro Ensemble is a powerful play with emotional characters, gospel music, and unrequited love. The setting is the Warren apartment bound for demolition, on the southside of Chicago. It is occupied by an elderly mother, Weedie Warren, and her spinster daughter Alberta.
Visiting periodically is Weedie's brother, Uncle Doc, played by Scatman Crothers, a drinker, a smooth dresser and he loves to play the numbers. Alberta is also a drinker, pill popper, frustrated, and has been driven up the wall by her overbearing and meddling mother, who calls Alberta a whiskey head.
While mother goes back to the south for a convocation, she observes the civil rights movements and its uprising, something not quite in Chicago yet. Meanwhile, a street singer named Blind Jordan wanders the neighborhood, looking for a woman he knew. Alberta invites him in and soon befriends him.
Witness a powerful performance, possibly 10-12 minute soliloquy by Alberta as she recites her most memorable obituary she wrote for a love she craved, Emmanuel Fisher. Then, she displays the sexual frustration reliving her angst at his funeral. This performance by veteran actor Mary Alice is worth the watch.
The play's title Sty of the Blind Pig is in actuality a house of ill repute that Blind Jordan tells about, where women, whiskey and food were sold. We also learn more of Weedie's past.
Because of Weedie's faith, gospel music is often heard in the background, such as Precious Lord, Farther Along, and Amazing Grace. The actors have all had extensive television experience. This is a wonderful play. Writer Phillip Hayes Dean has also written Freeman (Broadway Theatre Archive), where a black man struggles to break the stigma of being black in the 70s. .....Rizzo


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Philip Hayes Dian's play is about an uprooted black family from the South, living in Chicago at the start of the civil rights movement. Stars Mary ALice, Richard Ward, Maidie Norman, Scatman Crothers.

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11/24/2011

Luigi Pirandello's The Rules of the Game (Broadway Theatre Archive) (1975) Review

Luigi Pirandello's The Rules of the Game (Broadway Theatre Archive)  (1975)
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Pirandello's "The Rules of the Game," which has nothing to do with the Renoir film of the same title, is a relatively minor entry in the Pirandello canon but it's still an intriguing and effective play.
This TV production, originally presented on PBS's Theater in America series, was based on a stage production by the Phoenix Repertory Company that played on Broadway in 1974. (And how sad is it that it's been so long since PBS has had anything like the Theater in America series?)
The main characters are Silia (Joan van Ark), who is having a long-term affair with Guido (David Dukes), while remaining obsessed with her estranged husband, Leone (John McMartin) As part of their separation agreement (this being Italy and there being no possibility of divorce), Leone must visit Silia every evening for a half-hour.
Leone has decided that the best way to win what he refers to as "the game" is to drain himself of all painful emotions and to give in without argument to what others request of him. By continually agreeing to all of Silia's requests, including when she requested a separation, he frustrates her will, which is why she remains obsessed with him.
The play has a couple of plot twists that are fairly predictable, but what makes it a pleasure is Pirandello's language, which comes through effectively even in translation. (The William Murray translation is used.) And Pirandello provides dramatic situations that give good actors a lot to work with.
As Leone, John McMartin is particularly fascinating, finding ways to make Leone seem somewhat passive while subtly (and sometimes not so subtly) tormenting Silia and Guido. That fine actor David Dukes (who died far too young) provides an excellent foil for McMartin. They play their scenes beautifully.
Joan van Ark, who had been a late replacement for Mary Ure in the stage production, doesn't inhabit Silia's mix of sensuality, sadism, and neediness as fully as she might, but she's generally sound and sometimes more than that.
The supporting cast (including Charles Kimbrough, perhaps best known as Jim Dial on "Murphy Brown," in a fairly important supporting role, and Glenn Close, listed prominently on the DVD case, in a tiny role) is excellent, though it's a little strange that while most of the cast speak in more-or-less standard American stage speech, a couple seem to be trying to sound vaguely Italian.
The play was a cut a bit to fit into a 90-minute TV time slot, but the cutting was done skillfully. I question how McMartin was directed to play the final moments (going way beyond what is suggested in the script), but this DVD is an excellent way to experience this rarely seen Pirandello play. And except perhaps for those final moments, McMartin gives a superb and fascinating performance.

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This 1918 tragicomedy by Luigi Pirandello is set among the Italian upper class. The main characters are an impulsive young woman, the lover she exasperates and her cynical husband. The husband's apathetic attitude is that life is a game played by arbitrary rules, and his role is that of an unemotional observer. His philosophy is severely put to the test when his wife draws him into a duel with a nobleman who drunkenly accosted her. Stars Joan Van Ark (Dallas)and Emmy-nominee David Dukes (The Josephine Baker Story). Also featuring a brief appearance by Glenn Close in an early role.

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11/21/2011

John Cheever's The Sorrows of Gin (Broadway Theatre Archive) (1979) Review

John Cheever's The Sorrows of Gin (Broadway Theatre Archive)  (1979)
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With an eye for details and an ear for the hollow speech of the upper-middle-class residents of Shady Hill, Pulitzer Prize-winning playwright Wendy Wasserstein transforms John Cheever's famous short story into a realistic play about the failure to connect. Set primarily inside a suburban home, the play focuses on the lives of the Lawton family--Kip (Edward Herrmann) and Marcia (Sigourney Weaver), for whom the social whirl of cocktail parties and evening martinis has completely subsumed real life, and eight-year-old Amy (Mara Hobel), sad, lonely, and often fobbed off on the household help. The acting is outstanding, with an amazing performance by young Mara Hobel.
Although the Lawtons' household employees come and go, Amy becomes particularly fond of Rosemary, a cook who is as lonely as she is and who reads to her and gives her affection. When Rosemary returns one evening from a trip to the city, drunk, she is instantly fired, in part because she has embarrassed Amy's father in public. Amy, devastated, decides to follow a suggestion Rosemary once made to her--she pours her father's gin down the sink. When Amy continues this practice, her parents assume that the help is stealing it, and they fire a succession of employees. After her father's hot-headed confrontation with a babysitter, Amy decides to run away.
Produced for Public Television in 1979, this Jack Hofsiss-directed play depicts every aspect of the Lawtons' shallow lives. Amy's imitations of her parents' speech and their alcohol-related entertaining are duplicated when she plays with her dolls, and her mother's concern with appearances and her father's constant escape into martinis show the emptiness of their lives and the effects on Amy. Unfortunately, while this realistically depicted subject may have been fresh in the late 1970s, when the story was written, it is now stale and offers little that is new, thematically. The Lawtons are not intrinsically interesting, and their interactions with their daughter, such as they are, do not develop any real dramatic tension.
The intricacy and satire of Cheever's short story are missing here, and the pacing and careful buildup of details, which enhance the themes of Cheever's short story and leave something to the imagination, are sacrificed--everything in the play is obvious from the outset. The good acting, Wasserstein's natural-sounding dialogue, and the accuracy of the sets and costuming do not compensate for the losses that occur when this carefully constructed short story is transferred from the reader's imagination to an in-your-face revelation of family problems by people who do not learn from their experiences. Mary Whipple


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Sigourney Weaver and Edward Herrmann portray an affluent suburban couple whose empty and gin-fueled lives are observed through the eyes of their neglected, eight-year-old daughter in a teleplay adapted by playwright Wendy Wasserstein from John Cheever's short story. The tension and sadness behind the veneer of upper-class life in Shady Hill are at the heart of this insightful drama.

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11/03/2011

When Hell Freezes Over, I'll Skate (Broadway Theatre Archive) (1979) Review

When Hell Freezes Over, I'll Skate (Broadway Theatre Archive) (1979)
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This Vinnette Carroll production, brought to life by a talented 8-member troupe of singers and dancers, features a combination of poetry and song which reflects the African-American experience. Inspiring, at the same time that it is an indictment of the treatment black America endured over the ages, the production celebrates the ultimate triumph of the rich and varied African-American culture.
With music created and directed by Tony Award winner Cleavant Derricks and his twin brother Clinton Derricks-Carroll, the revue showcases the performers and their melodies and rhythms, rather than musical instruments. Hand-clapping, simple drums, and a single piano or sax often provide the only accompaniment.
Joyful and enthusiastic, the music ranges from early chants and marches, as in "When the Colored Band Comes Marching Down the Street," through folk dance, gospel, revival music, blues, and disco. The late Lynne Thigpen is the female anchor, doing a passionate blues solo, her voice a contrast to the soprano of Lynne Clifton-Allen, who "just spreads her mouth and shouts, 'Come to Jesus'" in a gospel song. Clevant Derricks is a powerful interpreter/singer throughout, as is his twin, Clinton Derricks-Carroll, whose stirring bass/baritone inspires both the live audience and the viewer.
The production contains almost as much poetry as it does music, with poems by Countee Cullen, Julian Bond, Nikki Giovanni, and Langston Hughes, among others, enacted by the talented cast. Sometimes humorous and satiric, the poems range from the elegantly expressed to the vernacular, always showcasing attitudes and events which have led to moments of triumph, including domestic triumph. Gracefully blending songs, dance, and poetry, the revue creates a moving and comprehensive tribute to the enduring spirit of Black America. As one singer attests, "You can't put out the fiery spirit [of] my soul." Mary Whipple


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This lively, spirit-lifting musical celebrates the sheer joy - and survival - of black music, song and poetry since the days of America's Civil War. With utter grace and ease, the gifted eight-member singing ensemble glides from gospel to disco and from slave quarter sermons to contemporary black poetry. Stars TonyÂ's Civil War. With utter grace and ease, the gifted eight-member singing ensemble glides from gospel to disco and from slave quarter sermons to contemporary black poetry. Stars Tony® - winners Cleavant Derricks (Dreamgirls) and the late Lynne Thigpen (An American Daughter, The District).By Vinette Carroll.

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10/29/2011

Nina Foxx's Marrying Up (2009) Review

Nina Foxx's Marrying Up (2009)
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This DVD was actually pretty good. I feel as though the movie was worth the price. Good plot and good laughs.

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NINA FOXX'S MARRYING UP - DVD Movie

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10/24/2011

When the Lights Go Out Review

When the Lights Go Out
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This dvd is awesome! It's funny, entertaining and real. I liked how relateable and real the characters seemed and the overall presentation of the play. It was like I was watching a movie and not a stage play. Another thing I enjoyed most was the story content. The message pointed back to Christ. The bonus material was really cool too. Overall I loved it and would recommend it!

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There is no bond stronger than the bond of family, but when betrayal and heartbreak strike, those ties are severely tested! WHEN THE LIGHTS GO OUT tells the story of a family who has lost its way…maybe forever. Only through the power of love, faith and forgiveness can they rediscover what\'s truly important and let the light back in! With the talents of Wendy Raquel Robinson (The Steve Harvey Show), Keith Robinson (Dreamgirls), Clifton Powell (Ray) and R&B sensation Lloyd, WHEN THE LIGHTS GO OUT shines with warmth, humor and song.

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10/23/2011

David E. Talbert 3-Pack (The Fabric of a Man/ He Say, She Say, But What Does God Say?/ Love On Layaway) Review

David E. Talbert 3-Pack (The Fabric of a Man/ He Say, She Say, But What Does God Say/ Love On Layaway)
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I just bought the play today and sat down to watch it tonight, and I liked to shed a few tears at the end; It goes like this: you have this drug dealer, Satin Jones(Clifton Powell),whose bar sits right next door to a church; his underling becomes too ambitious and threatens to take over the church; the pastor is already gunned down in a confrontation with them; and Satin is ready to close in on the property of the church next door to "expand" his territory; when he asks his people to wait on this, his associate,in direct opposition to what Satin said, goes to the church, terrorizes the members and beats up the new preacher; despite of all of this, the church presses on and even a love thing goes on between the preacher and one of the members; The ending of the play is the absolute best and will make you want to cry; What I learned most out of this play is that no matter how things may look or seem, things can go up after being down. Recommended viewing. One more thing, I started watching David Talbert before getting in on Tyler; I won't compare but I will say that I thank God for the both of them and that there is room for them both;

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Item Name: David E. Talbert's He Say She Say . . . But What Does God Say?; Studio:Urban Works

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10/03/2011

David E. Talbert's The Fabric of a Man Review

David E. Talbert's The Fabric of a Man
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The Fabric of a Man is one of David Talbert's best musical stage plays. It's the story of Dominique (Tammy Townsend - Family Matters, she played Eddie's girlfriend Greta), an up and coming fashion designer who thinks she is in love with Blair Godfrey (Clifton Powell), a self-centered stockbroker who wishes she'd focus less on her career and more on him. Her father is a minister and she has stopped going to church to concentrate on her career and boyfriend. Even though everyone tells her he is no good for her, she makes excuses for his behavior.
Dominique's employee (Buddy Lewis)forgot to take the dry cleaning to the cleaners and her regular cleaners is closed, she accidentally stumbles into an old-school dry cleaner, where she meets Joshua King (Darren DeWitt Henson - Soul Food), who has similar career goals. Joshua is a devout christian who doesn't make a move without God, their first date was dinner and church.
Dominique can't make up her mind about who's better for her, Blair who represents finance or Joshua who will give her the best of both worlds; love and a chance to explore her career goals. Dominique is forced to decide which man/fabric wears best on her.

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The Fabric of a Man is a jewel in the Talbert crown of romantic musical stage plays. It’s the story of Dominique Majors (Tammy Townsend), an up-and-coming fashion designer in love with Blair Godfrey (Clifton Powell), a self-centered stockbroker who wishes she'd focus less on her career and more on him. One night Dominique stumbles into an old-school dry cleaner, where she meets Joshua King (Darren DeWitt Henson), a good-looking young tailor who takes interest in more than just her dry cleaning. Torn between the comfort of finance and the potential of new romance, Dominique is forced to decide which fabric of which man best suits her. It's your front row ticket to inspirational theatre at its best! UrbanWorks Entertainment proudly welcomes David E. Talbert’s The Fabric of a Man into the prestigious Soul Theater Series!

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9/21/2011

Neighbors (Broadway Theatre Archive) (1971) Review

Neighbors (Broadway Theatre Archive)  (1971)
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Many may know the author, Arkady Leokum, as one who writes "Tel Me Why" childrens' books. As a playwright, Leukom has written the humorous short play "Enemies".
"Neighbors" is mostly one-on-one dialogue which doesn't entail any grand or lengthy monologues. The 70s performance is a television cast with veteran actor Andrew Duggan, Jane Wyatt (Father Knows Best), actress Cicely Tyson and Raymond St. Jacques (Roots). The scene takes place in the living room of a nice suburban New York home.
A well-to-do elderly white couple, Chuck and Mary, prepare for a visit to their home from prospective buyers, a young, also well-to-do, black couple, Bill and Vicky, from Harlem. Bill and Vicky's reason for buying into a "lily-white" neighborhood is for the schools, to buy their children an education. That's it!
Owners Chuck and Mary Robinson are stay-at-homes who thrive on community social involvement and indirectly, they lead the black couple to believe that involvement and responsibility to the community is the "thing" to do.
On the other hand, perspective buyer, Bill, a salesman, is a world traveler, and not home much, and he is confident with himself. Vicky is a Soul Sister who does for herself, has a maid, gets her nails and hair done, shops, and is strictly into being a w-o-m-a-n for her man. Bill and Vicky have absolutely no interest in community involvement.

The action begins after looking around the home and chatting about themselves. The sale is made and things get crazy when the black couple assumes that the white couple suggests "they behave like whites and get involved in the community"!
This short play is great! ....Rizzo


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A provocative, emotion-packed drama about race relations in an all-white suburban community, this play depicts the confrontaion between an upper-class white couple and a black couple from Harlem who plan to buy their expensive suburban home. In negotiating the sale, all four parties learn a little more about each other...and a lot about their own latent prejudices. A stellar cast - including Oscar-nominee and 2-time Emmy-winner Cicely Tyson (Sounder), 3-time Emmy-winner Jane Wyatt (Father Knows Best), Andrew Duggan (Rich Man, Poor Man), and Raymond St. Jacques (Roots) - delivers outstanding performances. By Arkady Leokum.

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8/30/2011

Madea's Big Happy Family: The Play Review

Madea's Big Happy Family: The Play
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I have seen this Play live in Kansas City and I must agree. I laughed, cried, was angry, sad and happy. But thank god for the majority I was laughing. :)
It involved every emotion that we experience in life, and not to be dissapointed had quiet a few lessons in it.
As with every good comedy, you take someones hardship and make fun of it' a lot of people will laugh, because they can relate. The cast was the best he has had yet. Very talented all the way through and I had my favorites of course. "Yaaaa Trick!!!" lol
I have seen all of Tyler Perry's Plays, watched all of his movies. But with this one I wasnt even out of the Sprint Center and asked if they had the play on DVD. But was told I had to wait until november. :( sniff.
I have never ever in 40 years waited on any movie or play ...on anything for that matter for 6 month,
but for this I did.
Thank You Tyler for opening my eyes on a few things and making me laugh while you are sharing your experience and pain.
Buy it, trust me you will not regret it, it's worth every penny!
(Oh and this is my first ever review. Can you tell? lol)

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Shirley has important news for her family, but she has five grown children with different lifestyles and finds it difficult to get them and the kids all together. So in steps Madea, the Matriarch General, to put the family's life in perspective with a hilarious twist on financial difficulties, drugs and, most important, family secrets. The next generation has a lot to learn. In her own way, Madea expresses how deliverance won\'t change you to be someone else, but will allow you to be who you really are. Ain\'t nothing like family!

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