‘Ain’t No Mo,’ A Searing, Edgy, Sardonic, Magnificent Production at The Public
Aint’ No Mo by Jordan E. Cooper directed by Stevie Walker-Webb is the most cutting edge, maverick and sterling production I’ve seen this year at The Public Theater. It is a must-see for its hysterical humor, black satire, superb “over-the-top” performances and jaw-dropping, brilliant writing by the playwright whom I cannot praise enough for his startling wake-up call to citizens in this nation that faces, a constitutional crisis.
Cooper with the assistance of the sharp direction and lightening, comedic pacing of Stevie Walker-Webb who shepherds the electric, moment-to moment actors, lays bare themes about black Americans attempting to survive in the medium of white oppression, a condition which began when the first slave ship in 1619 offloaded its precious cargo to the lands we now refer to as the United States. Through vignettes exemplifying black characters who REPRESENT a variety of socio-economic and cultural identities that make up black American society today, Cooper, Walker-Webb and the versatile actors portray the alienation, dislocation and terrorization black individuals confront daily based on the color of their skin because of institutionalized racism, whether they acknowledge it or not.
Though the playwright satirizes black culture and the sardonic humor is exceptional, underlying all of the vignettes is the ubiquity of a fascist system that destroys or chips away through incipient attenuation black citizens’ rights, freedoms, talents, hopes, legacies and praise for black contributions to the goodness of our society. The cultural blessings of black identity reside in every area one can think of; they are an indelible part of our society and culture’s music, scientific research, dance, inventive creations and much more. But why are blacks still facing record incarceration, economic injustice, legal injustice, housing discrimination, job discrimination, educational discrimination, killings by racist law enforcement who are not held accountable and more?
These inequalities born of white, male, privilege fascism, citizens must take to heart and understand regardless of skin color, especially if one is not black. Indeed, black American treatment in the culture serves to note the health of the society. It is like the canary in the coal mine. For a time around the decades up to the turn of the 20th century, it looked like maybe the canary was breathing. When Obama became president, the canary seemed stronger. But things didn’t turn out as expected. And now, the canary is croaking out its death song.
Cooper’s play exemplifies this with incredible power. It is a warning for all in the culture that we are very sick and it is especially egregious for black Americans. Those ethnicities who have their eyes open (not the KKK, the white supremacists, racist law enforcement, neo Nazis, the Trumpist administration and supporters, the Federalist Society and ultra-right wing think tanks who use race to divide and scoop up political power) are subject in a different way to the fascism that rides roughshod over black Americans.
Where fascist controllers are concerned, they will divide and conquer through racial hatreds so that ultimately all suffer under a horrible cultural-economic ethos where suffering becomes a matter of degree. And blacks are sacrificed in a blood letting that makes all guilty, unless they work fervently to stop it.
The greatness of this production which has not one “white” (an irony in itself since many “whites” don’t know their own racial history which includes African-American blood) person in it, concerns black perspectives about having to “get along” and survive in a “white privilege” culture. In effect, black Americans don’t “get along” very well (an understatement). And after the Obama administration ended in a hellishness for black Americans, the Trump election and current white supremacist administration has given rise to another holocaust.
With the empowerment of the KKK and white supremacy under Trump, where do blacks stand? Should they leave a country which has in some states reverted to voting violations reminiscent of the Jim Crow South? The question pervades this amazing and thought-provoking production from its powerful beginning to its riveting ending.
The production begins in a black church on the eve of the election of President Obama in 2008 during the funeral for Brother Righttocomplain. The Pastor leads the hopeful to believe that under Obama, a black president, finally things will begin to improve, and there will be “No Mo” of the oppression, killing and racial-based institutional abuse blacks have experienced.
However, at the end of the church service, we hear gunshots and see flashing red lights symbolizing more cops stopping blacks and killing them unjustly. And we hear in a voice over some of the black abuses that happened during Obama’s presidency, i.e. the Flint Water Crisis, the deaths of Travon Martin, Sandra Bland and scores of others. The unjust murders of many blacks at the hands of law enforcement continue. Obama did what he could but the death and destruction of black people and black identity in various forms is “alive and well.”
Cooper then steps into the future. The horror of Trump’s election has resulted in an evacuation of all blacks in the US. Peaches (a wonderful job by Cooper) is a flight attendant on African American airlines and she is responsible for checking in passengers on the flights to African countries for free; it is a form of reparations. Blacks must leave and give up all they have known here, or they will be transmogriphied into whites. All traces of their blackness, culture, identity will be obliterated and they will have to start anew in Africa. Cooper establishes the play’s development with three Peaches’ segments during which thousands of blacks are checked onto their flights so that there will be no blacks left in America.
In between the flights taking off, Cooper relays vignettes of various black individuals being confronted with the decision of staying and losing their black ethos or leaving. In the “Circle of Life” vignette, hundreds of black women line up for abortions; they would rather kill their children then see them in prison or “die while black” at the hands of law enforcement in the US. How Cooper dramatizes this (NO SPOILER ALERT HERE) is superb. However, the news of the eviction letter is just being received for these women They will have to make their decision quickly because the planes are leaving.
In the next vignette, a reality show entitled “Real Baby Mamas of the South-Side,” Cooper confronts the memes of what black identity means. It is a humorous and drop-dead serious send-up of black reality shows which exploit the idea of “being black” from a profit-motive angle.
During this segment as he does with others, the playwright touches upon many examples of oppressive destruction of black identity and the internalization of the destruction as blacks attack themselves and each other’s confidence in their “blackness.”
For example nullification of black identity exists through excoriation of the darkness of one’s skin color and the naturalness of one’s hair. “The lighter the skin, the better” is a reality blacks have had to deal with because of white fascist physical mores. The trend has morphed over the decades into a perverse reverse. Other ethnic groups including whites have embraced the “black ethos” in a perverse acceptance of only the superficiality of “being black” without realizing any of the horrific sacrifices blacks have made over their 400-year history in this nation.
Cooper takes this notion and puts it on steroids during the hysterical, satiric “Real Baby Mamas of the South-Side.” One of the characters (Rachonda-her real name is Rachel) is going through transracial treatments to become black. When she is called out on it by Tracy, Kendra and Karen, she reveals that she has no clue about black American sacrifices and and just wants to ride the current wave of black female “cool” generated by Michelle Obama.
This becomes so obnoxious and Rachonda so overweening in exrpessing the “right” to be who she wants, the hypocrisy for the real black women is overwhelming. All fight, a boon for reality TV’s exploitation. The attack on each other is symbolic. It is a tragic outcome of internalizing the “whiter is better” cultural mores turned on its head. We are ironically reminded how divide and conquer is a tactic of the dominant, white, privilege culture.
Interestingly, the real black women leave to join the thousands who are evacuating to Africa. Of course Rachel (who is white) never gets the notification to evacuate. The irony is that in attempting to become transracial she will never be black “cool.”
In the remaining vignettes, Cooper reveals a wealthy bourgeois black family who is covering over their black identity symbolized by the character “Black” (dressed like a slave) who their father kept in the basement out of fear. Because he dared to have his own business, the KKK nearly lynched their father. As a result, he suppressed his “blackness” and assimilated/internalized white cultural mores while suppressing his “blackness” by chaining up Black in the basement (psychological suppression).
It is an incredible vignette, both sardonic and sober in its revelation that to survive, blacks have internalized white cultural values to their own destruction. By adopting the”white” ethos by being the proud bourgeois class (nullifying their real selves/souls) they have trampled all those who have shed blood to advance the hope of achieving civil rights, equal opportunity and justice overcoming institutional racism.
As the family attempts to have an elegant dinner and discuss whether to go to Africa, Black comes up from the basement bursting on the scene. Black, representing everything about the family’s identity that they wish to eradicate (having internalized the white supremacy values) is a horror to them. They end up killing Black themselves for they do not want to be associated with being black. They have wealth and status and live in a white neighborhood; they are deluded they have made it in the oppressive culture that has destroyed their being.
Indeed, the theme is clear. An oppressive fascist culture has as its most horrific tactic: get blacks to destroy the finest traits about them, their blackness. Without that blackness, they embody the worst of the fascist “master race.” They genocide their own and themselves..
Cooper also identifies the black, female prison population in a very powerful scene. When freedom is posited, one of the prisoners, Blue, in great fear and rage from all the abuse of her past nearly creates a situation where she messes up her chances for freedom and is killed (or never makes the plane and is transmogrified). How Cooper ends this vignette and the last one when Peaches also goes to join those evacuating the US, are memorable scenes. They leave the audience in complete shock.
This superb production is a crucifying indictment of the nullification/annihilation of black Americans through identity confusion and racist oppression via various institutions in the United States. It is even more prevalent today under Trumpism in its blatant constitutional violations, gerrymandering, lies, destroying ballots and Trump’s sanctioning of the Russians helping elect him. (He denies this still, though the Mueller Report evidence proves the Russians meddled and then that Trump covered it up and obstructed justice). All of these segments hit the bulls-eye with mind-blowing truthfulness that makes one laugh and cry at the same time.
The themes are unmistakable. The sub rosa genocide of black Americans will continue unless we work together to stop it. Regardless, black Americans have made magnificent contributions and are the backbone of our progress. No one culture and class should dominate; that is the greatest myth and whether or not whites acknowledge that this is a lie, nevertheless, is a lie. The truth is apparent.
Sadly, if black women question having children because they fear giving them up to shootings and jail terms, then where is the hope? Are the strides taken up to this point in time hope-filled enough to continue in the face of the new fascism and white supremacy that is just plain in your face and denies that it is in your face? The play raises these questions for us to consider and answer with advocacy and action.
This marvelous production is an experience. Above all it is a reminder that we are together in this culture, striving to prosper. If we don’t work for all of us, then we can’t work for any of us. This is especially so against an administration that only bows to its own agenda and money men.
Praise go to these actors: Fedna Jacquet, Marchant Davis, Simone Recasner, Ebony Marshall-Oliver, Crystal Lucas-Perry and Jordan E. Cooper as Peaches. Kudos go to Kimie Nishikawa (Scenic Design), Montana Levi Blanco (Costume Design) Adam Honore (Lighting Design) (Emily Auciello (Sound Design) Cookie Jordan (Hair, Wig, Makeup Design).
Ain’t No Mo runs with no intermission until 5 May. Don’t miss this incredible, “in-your-face” production. You will be glad you saw something as novel and profound and wonderfully performed as you will see. There is NOTHING like it around! For tickets go to the website by CLICKING HERE.
Posted on April 23, 2019, in NYC Theater Reviews, Off Broadway and tagged Ain't No Mo, Crystal Lucas-Perry, Ebony Marshall-Oliver, Fedna Jacquet, Jordan E. Cooper, Marchant Davis, Public Theater, Simone Recasner, Stevie Walker-Webb. Bookmark the permalink. Leave a comment.