Wisdom (Esau Pritchett) is a Nigerian-American barber in his sixties who keeps a swear jar in his shop and doles out guidance. Happiness (Bryan Terrell Clark) is a well-heeled gay buppie who uses gender-neutral pronouns for his lap dog. Anger (Tristan Mack Wilds) is a once-promising athlete sidelined by an injury, and Depression (a distinctive, snappish Forrest McClendon) is a genius who has given up his studies to support his family by working at Whole Foods. Lust (the likable Da’Vinchi) is a young guy on the make, and Love (Dyllón Burnside) is his dreamy, moony counterpart.

Much of the show consists of personal monologues there is also a storyline that follows the men from dawn to dusk on a single day as they interact in locations including a barbershop, a grocery store and a line to buy the latest Jordans. In some ways, the play suggests a companion piece to Ntozake Shange’s 1976 choreopoem For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf, but its characters are identified by personality traits instead of colors, and it incorporates far less music and movement (though the schoolteacher called Passion, played by Luke James, sings briefly and beautifully). In language that moves between dialogue and slam-poetry style jazz verse, Scott gives each of them a hearing. It’s a direct challenge to the world at large, but also specifically to the Broadway audience-mostly white, unlike the actors onstage-that has come to see this full-hearted survey of seven Black men in modern Brooklyn. “But you don’t hear us, though!”: That is the refrain of the seven characters in Keenan Scott II’s Thoughts of a Colored Man, voiced in unison at the end of the play.

Thoughts of a colored man nyc