Almost 50 years ago, Ntozake Shange became the second black woman to have a show on Broadway. This title for the revival of this insightful exhilarating musical was quite a mouthful “for colored girls who have considered suicide/when the rainbow is enuf.”

So most refer to it as ‘for colored girls. ”

Shange wrote choreo poems (a term she created that describes a form of dramatic expression combining poetry, dance, music, and song. The musical features seven black women known by the colors they wear.

At the performance I attended, the parts were expertly played by McKenzie Frye as Lady in Orange, Tendayi Kuumba as Lady in Brown, Kenita R. Miller as Lady in Red, Alexis Sims as Lady in Green, Stacey Sargeant as Lady in Blue, Treshelle Edmond as Lady in Purple and D. Woods as Lady in Yellow. Three of the cast were understudies but all were excellent.

The use of colors distinguishes them but also makes their stories universal. Shange herself played a role in the original production. One change in the current production is that a deaf actress plays the Lady in Purple.

Through the choreo poems, they share tales of rape, infidelity and abuse; their stories tell of sexual and racial oppression. Yet despite their tragedies, they are buoyed by their sisters. These women are strong and supportive as they share their pain and their strength with humor, dance and lyric poetry.

The play begins with the voice of the playwright “Imagine all the stories we could tell about the funny looking lil colored girls, and the / sophisticated lil colored girls, and the pretty little colored girls…the ones just like you!”

With direction and choreography by Camille A. Brown, the musical captivates the audience immediately with the sinuous dancing. As the seven form a sisterhood, their bouncy energy leads to an incredibly sultry story (D. Woods ) and then to darker topics. The tone tends to get heavier as the show continues, yet by the end the feeling is still hopeful and upbeat.

The show doesn’t contain some of the anger and militancy of some more recent shows have. Instead, it is heartwarming and reaffirming. Often the ladies’ pain is palpable and when they are distraught, the audience shares their pain. The dialogue is written in the vernacular and they sound like real women.

Originally presented at the Public Theater in 1976 and moved to the Booth Theater, “For colored girls…” has come full circle. And it is once again playing at the Booth. Maybe suggesting that, although much has changed, sadly much hasn’t.