Tyler Perry, a name synonymous with movies and TV shows, operates in a distinctive theater realm, far from the glitz of Broadway. While celebrated for his films like “Diary of a Mad Black Woman” and hit TV series such as “House of Payne,” Perry’s theatrical work, especially plays like Madea’s Big Happy Family Play, often flies under the radar of mainstream critics. His journey from humble beginnings in New Orleans to becoming a prolific playwright is a testament to his connection with a dedicated audience. Emerging from Atlanta in 1998 with his first musical play, “I Know I’ve Been Changed,” Perry solidified his place in theater history with the introduction of Madea, the iconic, sharp-tongued grandmother, in 2000. Played by Perry himself, Madea became the centerpiece of numerous plays that resonate deeply within the African-American community, touring across the country in venues reminiscent of the historic “chitlin’ circuit.”
Unlike typical Broadway productions, Madea’s Big Happy Family Play and Perry’s other stage endeavors receive scant attention from mainstream media. Critics were notably absent from showings of Madea’s Big Happy Family Play, highlighting the divide between Perry’s popular appeal and traditional theater critique. Purchasing a ticket for a performance at Madison Square Garden, one stop on a tour extending through May, offered a powerful reminder of the vibrant, yet often unseen, world of popular American theater. This experience underscored that engaging and thriving theatrical performances exist beyond the confines of Broadway’s spotlight.
Madea’s Big Happy Family Play masterfully blends elements of comedy-drama, a lively rock concert, an impassioned revival meeting, and an empowering motivational seminar. The comedic elements, relatable, albeit stereotyped, characters, and a simple set design evoking a sitcom environment—a two-story family home—contribute to its accessible charm. This sitcom-like feel is further enhanced by video screens broadcasting the stage action, complete with sitcom-style close-ups and two-shot edits, creating an intimate viewing experience even in a large venue like Madison Square Garden.
At the heart of Madea’s Big Happy Family Play lies the story of Shirley, a single mother who receives a devastating cancer diagnosis, learning she has only weeks to live. Her attempt to share this news with her family is met with distraction, as each member is consumed by personal dramas. The family’s issues are plentiful: a son entangled with a demanding fiancée pushing him towards illegal activities for boutique funding, and an older daughter revealing a long-held secret about her younger “brother’s” true parentage.
Amidst these serious storylines, Madea’s Big Happy Family Play bursts with comedic relief, delivered through sharp, witty dialogues and spirited gospel and R&B musical numbers that uplift the audience. An underlying inspirational Christian message permeates the play, symbolized powerfully when Shirley, in her final moments, sings from her deathbed and then reappears as an angel ascending to heaven, continuing her song. Madea, the central figure, provides both comedic commentary and stern advice. She directly addresses characters with practical wisdom— advising a man about his manipulative fiancée—and offers universal life lessons, emphasizing positive thinking and its outcomes.
However, Madea’s Big Happy Family Play is not solely about delivering messages; it’s also about entertainment. Perry breaks character to engage with the audience directly, humorously scolding latecomers and sharing impromptu anecdotes and even movie reviews. He praised Disney’s “The Princess and the Frog” for its representation but playfully critiqued its romantic pairings. Post-performance, Perry extends his interaction, spending additional time explaining the play’s origins after his mother’s passing, advocating for Haiti relief, and promoting his upcoming film.
Madea’s Big Happy Family Play might be considered unrefined and commercially driven, but it is undeniably effective. Perry connects deeply with his audience by addressing their shared experiences, aspirations, and concerns, providing a space for both escapism and realism, seasoned with moral insights. While the reviewer acknowledges not being Perry’s primary audience, much like Perry’s fans might not relate to the plays favored by New York critics, the communal joy and uplift felt by the audience leaving Madea’s Big Happy Family Play is palpable. In contrast to the subtle and perhaps isolating experience of a Noel Coward play, Perry’s production fosters a sense of community and shared emotional release.
