Capathia Jenkins, Ken Robinson, and Nathan Lee Graham

Porter has a long history with the show, detailing in an interview in the program how his experience with it changed his life when he was a teenager. Seeing black people onstage in these sketches was unlike anything he had seen before, and Wolfe's daring representations may raise more than a few eyebrows in the politically correct world we live in, but the honesty of the portrayals wins the day. Perhaps equally important is the spot on humor that Porter and company capture, making it impossible to leave this museum without feeling entertained. If that is all you feel, they've done their jobs, but I can't imagine being unmoved by what you see on the stage. Beneath and behind the laughs, there is much to be learned, much to be startled by, and much more to spur thoughts and conversations long after closing time.

Not every sketch hits its mark directly, and one or two could stand a little trimming, but the anticipation of what's coming next is enough to make it through the few slow moments. As an opener, "Git on Board" immerses us in the sensibility of The Colored Museum and, like the flight attendant on an actual airliner, the pert Miss Pat (Shayna Small) puts a positive spin on even the most unpleasant aspects of the journey on Celebrity Slaveship, making it seem perfectly natural to keep our shackles fastened at all times. Cruising altitude is quickly achieved and the meal served up by Capathia Jenkins in "Cookin' With Aunt Ethel" is a bluesy mix of down-home ingredients with her sparkling eyes and some attitude ("opps! I put too much"), resulting in a surprise concoction pulled from her big, black pot.

Wolfe does not shy away from commenting on such cultural totems as Ebony magazine, Diana Ross and A Raisin in the Sun. In the latter, retitled "The Last Mama-on-the-Couch Play," the scene opens with Jenkins (Mama) on a couch, barely noticeable but for her head, as her dress, the upholstery, the wall covering and the curtains are all made from an identical, gaudy flowered pattern. Her woebegone son Walter-Lee-Beau-Willie-Jones (Ken Robinson) angrily laments his oppression by The Man, but gets no respect from his Mama, his wife (Rema Webb), or his sister (Small). The overacting (intentional) competition is fierce, with a British narrator (Nathan Lee Graham) awarding a trophy to first one, then another and another. Mama concludes that life would have been better if they could have been born into an all-black musical and she breaks into song. The ensuing, over-the-top production number references several real shows, showcases the outstanding musical talents of the cast, and has a stunning, audience-silencing finale.

In the exhibit labeled "Symbiosis," Robinson conveys the internal struggle of a businessman discarding artifacts of his youth as he tries to assimilate. Graham, as the man's younger self, is all up in his face to remind him that you can't escape your history, nor should you even try. This is one of those seminal "aha" moments in The Colored Museum that applies to anyone who would deny their ancestry, failing to understand that we all stand on the shoulders of those who came before us. The theme is carried into "Lala's Opening," in which Webb channels a Ross-type diva, a woman who has reinvented herself so many times that she has lost touch with the child within. Fittingly, in "The Party," the final exhibit, Topsy Washington (Jenkins) dances in with seemingly boundless energy and both barrels blazing to drive home the message that she is connected with each and every one of the "black/Negro/colored Americans" who preceded her, and they're all having a party inside her head.

The variety of characters portrayed by all of the actors unveils their amazing range, but one of my favorites is Graham's drag queen in the monologue "The Gospel According to Miss Roj." He owes some gratitude to costume designer Anita Yavich, but the attitude and strut are all him. The evocative design elements of flashing colored lights (designer Driscoll Otto) and pounding disco beat (sound design by John Shivers and Kevin Kennedy) complete the scene in The Bottomless Pit. Music (Kysia Bostic) figures heavily in this and many of the vignettes and James Sampliner handles both music direction and arrangements. Percussionist Akili Jamal Haynes plays a vital role on and off stage. Porter creates the right choreography for the mood of each piece, and especially takes flight in "The Last Mama" and "Miss Roj."

Scenic designer Clint Ramos welcomes us into a museum gallery with bare gray walls, recessed lights and a giant packing crate sitting in the middle of the stage. Projections (Zachary G. Borovay) augment the atmosphere, suggesting the airplane cabin, a war zone, and a city block, among other sites. As the exhibits change, the center of the set rotates to reveal the next tableau; in effect, Ramos crafts eleven unique designs which are complemented by kinetic lighting and striking costumes. From takeoff to landing, The Colored Museum is a living, breathing repository of artifacts of cultural significance, but its lessons have equal bearing on current events.

The Colored Museum performances through April 5, 2015, at the Huntington Theatre Company, 264 Huntington Avenue, Boston, MA; Box Office 617-266-0800 or www.huntingtontheatre.org.

Written by George C. Wolfe, Directed and Choreographed by Billy Porter; Music Direction & Arrangements, James Sampliner; Scenic Design, Clint Ramos; Costume Design, Anita Yavich; Lighting Design, Driscoll Otto; Sound Design, John Shivers & Kevin Kennedy; Projection Design, Zachary G. Borovay; Music by Kysia Bostic; Production Stage Manager, Emily F. McMullen; Stage Manager, Tareena D. Wimbish

Cast (in alphabetical order): Nathan Lee Graham, Capathia Jenkins, Ken Robinson, Shayna Small, Rema Webb; Percussionist: Akili Jamal Haynes

Photo: T Charles Erickson