Simon Saltzman ably honed in on The First Breeze of Summer's excellence despite some of its excesses. I'll therefore limit some thoughts prompted by seeing the play and reading the Signature Edition's interview with the playwrigh.

Within the context of the Signature's mission of devoting each season to one playwright, Lee's play is a fine choice for embarking on a somewhat different 2008-09 season — a season that instead of focusing on the work of a single playwright, puts the spotlight on a theater company with its own mission: To give African-American playwrights and actors a place to showcase their work.

I'm old enough to nurture fond remembrances of some of the Negro Ensemble Company's productions. Like Simon, I didn't see First Breeze of Summer either Off or On Broadway, so it was a treat to have a chance to see this old-fashioned semi-autobiographical family melodrama with its big cast, and finely detailed sprawling set brought back. I can't blame Mr. Lee for regretting the absence of a Theater Company to act as a launching pad for emerging African-American theatrical talent. However, there's a half full/half empty cup side to this.

The unlikelihood of realistic, big cast plays being produced is an economic fact of life affecting theater people, no matter what the color of their skin. However, the success of August: Osage County, a kitchen sink family drama with just one actor less than First Breeze, and has proved that getting such a play produced, and becoming a popular and critical success, is not a completely impossible dream.

Granted, neither playwright Letts or the family in August are African-Americans, but the work of African-American playwrights and actors have become increasingly mainstreamed and attended by more diverse audiences. And so, while a nationally endowed theater remains even more elusive than a national health care plan, African-American playwrights, directors, and performers have become a much more integral part of both on and off Broadway and regional theater.

When Lorraine Hansberry's Raisin in the Sun was revived in 2004 it was on Broadway. August Wilson, another African-American playwright who, like Hansberry, died way too soon, had his extraordinary play cycle produced at major venues. African American playwrights, like all thespians have made good use of the economic viability of the solo play -- Breeze director Ruben Santiago-Hudson did well with Lackawanna Blues and last season Thurgood had a solid run on Broadway with Lawrence Fishburne.

Also fitting the full glass view is the increased acceptance of color-blind casting —to wit last season's revival of The Country Girl, Come Back Little Sheba along with Cat on a Hot Tin Roof with an all black cast. Granted none of these were by an African-American playwright, but both were a chance for African-American actors to break down the great racial divide.

What about young playwrights wanting to step into the shoes of people like Lee? Well, there too there's light at the end of the tunnel.

This summer I saw a wonderful new play called Broke-ology by a 29-year-old young African American named Nathan Louis Jackson at the prestigious Williamstown Theatre. It was the best new play I saw during the entire Berkshire season and I would bet that perennial bottom dollar that it will not only have a future life in New York and elsewhere, but under the auspices of a well-established and well attended organizations.

Actually, The First Breeze of Summer and this new play (Brokeology Review ) have much in common. Both are family plays, that combine universal issues with those of particular revelance to people of color. Here's hoping that the Signature Theater will continue its invaluable work long enough to devote a season to new, steadily working African-American playwrights like Mr. Randolph.