The Colored Museum Script

Kenneth Richardson, working with an exceptional cast and elegant designers, has given 'The Colored Museum' the pacing and unity of a sustained play in the pop-art absurdist mode. Script Preparation For Mount Holyoke's production of The Colored Museum, two of the scenes were cut: 'The Soldier' and 'Permutations'. There were also modifications to certain characters' sexes.

Critical IntroductionThe Colored Museum Script
Production History
Textual Lineage

The Colored Museum Script Online


Script Preparation
Playwright Chronology
Contextual Chronology

The Colored Museum Script


Media
Promotion
Critical Reception

Critical Bibliography
Contextual Bibliography

For Mount Holyoke's production of The Colored Museum, two of the scenes were cut: 'The Soldier' and 'Permutations'. There were also modifications to certain characters' sexes. While these were not dramaturgical decisions, it is important to explain this aspect of the production.

ColoredPre-Casting Cuts
'Permutations' was cut because of the time limit; the show would have run past an hour and fifteen minutes. Instead of cutting down individual scenes, the directors instead chose to cut entire scenes. 'Permutations' was also far more complex and the directors were worried it would get lost to the audience.

'The Soldier' was cut also for time. The choice of cutting this piece probably dealt with audience; would the audience be as aware of the popular stereotypes associated with black soldiers?

Post-Casting Changes
No men tried out to work in this piece. This created somewhat of a problem; for instance, 'Miss Roj' had gender and sex roles included in it as a theme, which almost demanded a man.

The directors decided that they needed to work with the best people who tried out. The sexes of almost all the characters remained the same; the only roles that were changed were the two characters in 'Symbiosis' and one of the models in 'Photo Session'.

Because the woman cast to play Topsy also was cast to play Lala, the scene 'Lala's Opening' was swapped with 'Symbiosis' to give the actor a change to prepare for her next role. In addition, instead of having Lala's lines about her dream in the final scene with Topsy, the directors chose to have the Girl from 'Photo Session' say her lines from 'The world was becoming too much for us...'

The
© Kylie 'drago' McCormick, Mount Holyoke College '08.
Information last updated May 14, 2006. Page last updated 3 October 2009.
Signifyin(g) on African-American Theatre: 'The Colored Museum' by George Wolfe
Vol. 44, No. 3 (Oct., 1992), pp. 291-303 (13 pages)
Published By: The Johns Hopkins University Press

With a personal account, you can read up to 100 articles each month for free.

Already have an account? Log in

Monthly Plan

  • Access everything in the JPASS collection
  • Read the full-text of every article
  • Download up to 10 article PDFs to save and keep

Yearly Plan

  • Access everything in the JPASS collection
  • Read the full-text of every article
  • Download up to 120 article PDFs to save and keep

Purchase a PDF

Purchase this issue for $44.00 USD. Go to Table of Contents.

How does it work?

  1. Select a purchase option.
  2. Check out using a credit card or bank account with PayPal.
  3. Read your article online and download the PDF from your email or your account.
Museum
  • Access supplemental materials and multimedia.
  • Unlimited access to purchased articles.
  • Ability to save and export citations.
  • Custom alerts when new content is added.
Proceed to Cart

The Hair Piece From The Colored Museum Script

Preview
Journal Information

For over five decades, Theatre Journal's broad array of scholarly articles and reviews has earned it an international reputation as one of the most authoritative and useful publications of theatre studies available today. Drawing contributions from noted practitioners and scholars, Theatre Journal features social and historical studies, production reviews, and theoretical inquiries that analyze dramatic texts and production. Recent special issues include 'Re-Thinking the Real,' 'Ancient Theatre,' 'Dance,' and 'Theatre and Activism.' Theatre Journal is published in cooperation with the Association for Theatre in Higher Education (ATHE).

Publisher Information

One of the largest publishers in the United States, the Johns Hopkins University Press combines traditional books and journals publishing units with cutting-edge service divisions that sustain diversity and independence among nonprofit, scholarly publishers, societies, and associations. JournalsThe Press is home to the largest journal publication program of any U.S.-based university press. The Journals Division publishes 85 journals in the arts and humanities, technology and medicine, higher education, history, political science, and library science. The division also manages membership services for more than 50 scholarly and professional associations and societies.BooksWith critically acclaimed titles in history, science, higher education, consumer health, humanities, classics, and public health, the Books Division publishes 150 new books each year and maintains a backlist in excess of 3,000 titles. With warehouses on three continents, worldwide sales representation, and a robust digital publishing program, the Books Division connects Hopkins authors to scholars, experts, and educational and research institutions around the world.Project MUSE®Project MUSE is a leading provider of digital humanities and social sciences content, providing access to journal and book content from nearly 300 publishers. MUSE delivers outstanding results to the scholarly community by maximizing revenues for publishers, providing value to libraries, and enabling access for scholars worldwide.Hopkins Fulfillment Services (HFS)HFS provides print and digital distribution for a distinguished list of university presses and nonprofit institutions. HFS clients enjoy state-of-the-art warehousing, real-time access to critical business data, accounts receivable management and collection, and unparalleled customer service.

Rights & Usage

This item is part of a JSTOR Collection.
For terms and use, please refer to our Terms and Conditions
Theatre Journal © 1992 The Johns Hopkins University Press
Request Permissions