TULSA, Okla. — More than three decades after George C. Wolfe first introduced audiences to The Colored Museum, the groundbreaking satire on Black identity, trauma, survival, and joy is returning to Tulsa at a moment many say feels painfully familiar.
Presented by Theatre North and directed by Tulsa artist Stephanie Alecia Rose, the production will run May 23 and 30 at 8 p.m. and May 24 and 31 at 3 p.m. at the Tulsa Performing Arts Center’s Liddy Doenges Theatre.
Stephanie Alecia Rose says The Colored Museum remains a timely reflection of Black identity, survival, and self-erasure in America
Originally written in 1986, The Colored Museum unfolds through 11 satirical “exhibits” exploring stereotypes, assimilation, Black memory, cultural pride, and the emotional contradictions of being Black in America. But according to Rose, the play’s themes remain just as urgent today as they were nearly 40 years ago.
“We in the Black community still have stereotypes that people base us off of,” Rose told The Black Wall Street Times during a recent interview. “There are still Black people who feel like they have to strip themselves of their Blackness in order to succeed in certain spaces.”
For Rose, directing the production was deeply personal.
She previously performed in The Colored Museum during a 2010 Theatre North production. Returning years later as director, she said accepting the role was an easy decision.
“I love anything that’s blackety-black,” Rose said, laughing.
That phrase — “blackety-black” — surfaced repeatedly throughout the conversation, becoming both a humorous refrain and a serious artistic philosophy. Rose described the production as an unapologetic celebration of Black culture while also confronting painful truths about identity, self-erasure, and historical trauma.
The play balances comedy with deeply emotional moments, something Rose said reflects the lived reality of many Black Americans.
“As ridiculous as it is, as dark as it is, we’re still gonna laugh at it,” she said. “But then there are moments where we know this is serious. That’s storytelling.”
“Research, research, research”: How The Colored Museum connects Black memory, Tulsa history, and cultural identity
Rose emphasized that preparation for the cast extended far beyond memorizing lines. Actors were encouraged to research Black history, music, literature, and cultural references embedded throughout Wolfe’s script.
“Research, research, research,” she said. “Because when you know, you connect.”
She recalled moments during rehearsals when younger cast members were unfamiliar with references older generations immediately recognized. That included lines connected to classic films like Gone with the Wind and the significance of groups like The Temptations.
For Rose, those gaps became teaching moments about Black cultural memory and intergenerational storytelling.
“Not every Black person knows even 50 percent of Black culture,” she said. “That’s why I love doing Blackity Black shows, because it gives us another opportunity to learn about our history.”
Tulsa’s own history also shaped her approach to the production.
Rose said the legacy of the Tulsa Race Massacre remained present throughout rehearsals, especially the resilience that followed the destruction of Greenwood.
“As horrible and painful as it was, Black people stayed and rebuilt,” Rose said. “That unity is in this show, too.”
Why Black theater still matters in America’s ongoing fight over identity, history, and belonging
The production arrives during a national moment when conversations about race, identity, and Black history remain politically charged across the country. Rose believes Black theater continues to play a critical role in helping audiences confront those realities.
“These stories still have to be told,” she said. “We still live in a world of tone deafness.”
She added that Black theater creates opportunities for audiences outside the Black community to better understand the roots of Black expression, fashion, language, resilience, and pain.
“They can at least get a window into why we behave, react, dress, and speak the way we do,” she said.
Beyond laughter and reflection, Rose hopes the production sparks conversation within the Black community itself, particularly around identity and assimilation.
“Be proud of who you are,” she said. “Dig into the history. Be proud of who you are.”
A Black Tulsa tradition returns to the stage with community support and a multigenerational cast
The production features a cast of Tulsa performers including Jen T’homas, Ibrahim Buyckes, Michelle Cullom, Mecca Marie, Brandon Jyrome, Oti-Lisa Brown, Jazzy B, Rob Lee, Latrice Gordon, Stephen Keys, Paris Simone, Sherra Epps, Loretta Roscoe, and Honour Rose.
According to Theatre North, the production was made possible through support from the Zarrow Commemoration Fund, George Kaiser Family Foundation, Arts Alliance Tulsa, and the Tulsa Performing Arts Center.
Founded to cultivate drama, music, and performing arts rooted in the African American experience, Theatre North has long served as one of North Tulsa’s most important Black cultural institutions.
“Come out and support community theater, because we need every seat in the house filled. We need people to come see how hard people are working. It takes a long time to do a show, and it takes quite a bit of money, and we just need support,” Theatre North’s Executive Director, Maybelle Wallace, says.
Tickets are available through the Tulsa Performing Arts Center website or by phone at 918-596-7111.
