The Company's recent production of Ntozake Shange's brilliant choreopoem 'For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf', was marked by both excellence and tragedy.

The excellence: six masterful lead performances by the rainbow-coloured leading ladies. The tragedy: the absence of Nashanti Bailey due to sudden illness.

The fact that Saturday's performance went on at all is a testament to the skill, craftsmanship, and professionalism of this fabulous production company.

Nashanti was the pivotal 'Lady in Red', and, although her absence was conspicuous, the remaining cast members delivered a more than satisfying rendition of this classic and beloved ode to black womanhood in the Western Hemisphere.

The piece addresses experiences connected to being black, female, and American in the 20th century. Rural southern experiences, big city experiences, small childhood wanderings, prom-night memories, relationship remembrances, and dancing; a lot of dancing!

Indeed dancing is depicted here as a form of catharsis; a fluid, sensuous way of releasing all the pressures that come with being "the lowest of the low" in post-slavery American society.

The poem is not easy to swallow at times. It can be brutal in its honesty. Shange wades effortlessly through childhood issues, early sexual experiences, relationship snags, abortion, rape, the early onset of black pride, two-timing men, lazy men, worthless men, and, of course "sorry" men. Though, oddly enough, the focus of the piece steers it clear of being just another male-bashing polemic.

What appeared on the Ruth Seaton James stage on Saturday night was a celebration of black womanhood. The coincidental intersection with male influence was a prop, not necessarily a main theme. The ladies danced, hugged, laughed, cried, supported each other at every turn, and then shared all that love with the audience. It was quite an experience.

Rhonda Daniels was a tour de force as the Lady in Brown, exuding pride and power whenever she addressed the audience. She was especially wonderful when she told us of her youthful discovery of Toussaint L'Overture, the Haitian leader who ousted Napoleon's army from his land in 1791. This was a moment of great pride, because he, like she, was black, and strong, and defiant, and revolutionary. Revolution was an oft-revisited theme throughout the evening in fact.

Melody E. Albouy was luminescent as the sensual, seductive Lady in Yellow, describing young womanhood like she felt it in every curve. Michelle Laylor was a tower of strength as the Lady in Green, bringing an earthy realness to her drama, and letting us all know exactly what she was feeling when intimating that: "Somebody almost walked off wid alla my stuff."

Young auteurs Shoa Bean (Lady in Orange) and Ty'esha Oswald (Lady in Blue) delivered potent turns as well, tackling some of the more delicate experiences with considerable aplomb. Bean emerged intact after a "friend" left her crying on the floor in her spine-tingling depiction of rape, while Oswald depicted abortion to sobering effect. These moments captivated the audience, creating a tangible silence, which in turn was marked by an ominous expectancy; a kind of silent resilience that we all, us who have lived life long enough, knew was coming.

Veteran actor Laurel Burns (Lady in Purple) was also fantastic in her role as the glue of the group; the strength, backbone, and regal-ness of this band of renegade black women women who refused to be broken, even when life said to suffer. Indeed, what was the point of suffering when there was music to be heard and dancing to be danced?

The always wonderful Gina Davis (DJ Fro), and Candace Furbert (Spirit of God) provided solid supporting performances, making this a more than worthwhile outing.

The Lady in Red was certainly missed. She is, after all, an integral part of the original narrative. What was presented, however, was still adequate at worst, and excellent at best. The remaining cast hit their every mark, delivering command performances, and emoting like the top-shelf professionals we've come to expect The Company to put on stage.

Bravo Mrs. Pogson-Nesbitt, The Company, and the Emperial Group. Please keep the powerful, positive, and life-affirming vibes flowing; our community needs them now more than ever.