‘Ain’t No Mo,’ the Uproarious Satire Explodes With Brilliance on Broadway
Ain’t No Mo which premiered at The Public Theater in 2019 brings its scathing, sardonic wit and wisdom to Broadway in a broader, handsomer, electrically paced production with incredible performances and extraordinary, complex dynamism. Presented by a host of producing partners with Lee Daniels topping the list and The Public Theater end-stopping it, Jordan E. Cooper’s brilliance now can be appreciated by a wider audience. Directed by Stevie Walker-Webb, the production shines brightly with the creative team of Scott Pask (scenic design) Emilio Sosa (costume design) Adam Honore, who also was responsible for lighting design in the Public Theater production, Jonathan Deans and Taylor Williams (sound design) and Mia M. Neal (hair & wig design).
The tenor, structure and characterizations which send up Black cultural attitudes and systemic white institutional racism and fascism in Cooper’s excoriating farce and brash, in-your face cataclysm of vignettes, remain essentially the same as the Public’s production which I adored and thought incredibly trenchant (https://wordpress.com/posts/caroleditosti.com?s=ain%27t+no+mo). Based on the premise of the political collapse of the country with Putin installing Donald Trump as president (my opinion as per the Mueller Report) as the main conceit of the play, the government offers a one-way flight back to Africa for all Blacks.
This was a perfect trope in 2019 and still is. Though we have a different administration in the presidency, the same pernicious elements that uplift oppression and inequity refuse to submit to the constitution which safeguards Black citizens and all citizens’ rights. Indeed, since 2019 the villians are hell bent to vitiate as many of our rights as they can. So Cooper’s play is tremendously vital as a clarion call against white supremacist tyranny and despotism at the heart of Trumpism and Republicans’ silent agreement with it.
Cooper attempts a few updates in this production since 2019. He references Black Lives Matter and Vice President Kamala Harris. However, he omits references to the horrific changes in the political climate which has worsened. Nor does he reference the Biden presidency which has sought to reverse every perverse corruption the Trump presidency and Republican party in silent complicity wrought on the country. Trump’s blasphemy of democracy, the January 6th insurrection and COVID botch job (read Bob Woodward’s book Rage) where Trump wittingly exacerbated the proliferation of the virus, killing the most vulnerable communities (persons of color, the elderly) are not mentioned in this production. The updates are unnecessary because Cooper’s themes are more current than ever. In fact they are prescient and hilariously frightening.
The Trump Republicans have continued their fascism and racism with a new vengeance against the Democratic Party which appears to stand for democracy and accountability. At this writing the entire Republican Party has not raised the hue and cry necessary to condemn Trump’s association with two individuals who support white supremacy, Nazis and in particular one individual’s praise of Hitler as a Holocaust denier.
Such white supremacist oppression and outright tyranny are the key points of Ain’t No Mo which suggests truth in ridicule and doesn’t posit simplistic solutions. Cooper’s genius with Stevie Walker-Webb’s superb director’s illumination REPRESENT metaphorically. Within the high-anxiety, farcical elements of the play are the roiling currents of fear and anxiety that reveal what it is to be black in the United States today, regardless of whichever black socioeconomic class one fits into.
This is especially so after the January 6th insurrection, 1,100,000 pandemic deaths and the screaming lies of white supremacist terrorist QAnon politicos like Louis Gomer, Marjorie Taylor Green and fist pumping Josh Hawley. It is especially so as Trump acolytes whitewash violent behaviors as patriotic expressions of freedom, in a cover-up of what they actually are, crimes against humanity and an attempt to destroy the constitution and the rule of law which holds white supremacist terrorist criminals like the Oath Keepers and Proud Boys and their encouragers (Trump’s allies) accountable.
Thus, Cooper’s prologue set in a local black church in 2008 at a metaphoric funeral service of Brother Righttocomplain is beyond perfect. Pastor Freeman, the wonderful Marchant Davis, proclaims that the election of black president Barack Obama will save the black community and remove their need to protest injustice, inequity, police brutality and lynchings, and racial hatreds. Parishioners (Fedna Jacquet, Shannon Matesky, Ebony Marshall-Oliver, Crystal Lucas-Perry) dressed in tight white dresses, thanks to Emilio Sosa’s outrageously funny costume design, scream and shout the glory. These congregants affirm with Pastor Freeman that the “light-skinned” (an irony) Black president will solve all their problems as their very own messiah whose freeing power they “own.”
Cooper’s memes and jokes are acutely ironic and a veritable laugh riot. For example he affirms that Obama is their “ni&&er” and as such there “ain’t no mo discrimination, ain’t no mo holleration, ain’t gone be NO more haterration…” The good reverend lists an end to every conceivable example of racist terror visited upon Blacks since the Civil War because with a Black president, abuse of the Black race by an unjust government will now stop. Of course, this is an irony because learned behavior and systemic institutional racism is so complex and entrenched, everyone in the nation must work very hard to overcome it. Given the pockets of prejudice and discrimination even in blue states, this is easier said than done. Cooper illustrates this beautifully by the conclusion of the opening scene.
With the burial of Brother Righttocomplain, “Freeman” preaches “ain’t no mo strife, no more marches to be led, no more tears to be shed…” in celebration of a real “going home party.” Of course, when Pastor Freeman hears gunfire as the parishioners praise, sing and dance, reality makes its ugly appearance. With sirens, cop cars’ flashing lights and gun shots, the future descends during the Obama presidency and afterward to the annihilating Trump presidency.
Above the shouts of praise Marchand’s Freeman hears the overwhelming news reports of the Flint water crisis, deaths of Trayvon Martin, Oscar Grant, Aiyana Jones, Rekia Boyd, Jordan Davis, Alton Sterling, The Charleston Nine and countless others. The reports reveal Freeman’s overestimation of Obama’s power as a Black president to mitigate racial hatreds and alleviate the social oppression Blacks experience every day. The same discrimination and violence raises its ugly head, despite President Obama’s best efforts to stop it. So the foreboding harbinger of the Trump presidency’s return to Jim Crow 2.0 terrors hover, unless blacks hop on those flights to Africa on African American Airlines. If they evacuate, they will save their lives. If they stay, they lose everything including their black identity and will end up dead or in prison.
Of course Cooper’s Africa evacuation is what President Abraham Lincoln suggested as a way to solve the “negro question” after the Civil War was over. However, Frederick Douglass stood up to Lincoln and vociferously opposed leaving because the United States was their country since 1619, and their association would never be African because their tribal history had been taken from them.
As a solution to the hell of Black America’s unequal treatment under the law, evacuation to Africa is Cooper’s over-the-top response. It is a double irony considering that once again, Blacks are introduced to a new form of dispossession, alienation, abandonment and diaspora, while the oppressive white culture “owns” all of the historical contributions Blacks have made in the arts, sciences, government, technology, industry and every field imaginable. In the play African Americans’ contributions reside metaphorically in a lovely bag which flight attendant Peaches (the inimitable Jordan E. Cooper) tries to take with her as she attempts to board the flight. But symbolically, the bag cannot be removed to Africa. And trying to leave with it, Peaches misses the flight and loses her identity and everything she’s fought for as an American. She is reduced to the state of those who survived the Middle Passage and were set up to be auctioned off as slaves. But she is “keeper” of the bag and recognizes that she is left to represent Black culture and identity.
Another key point Cooper makes with the symbolism of the “bag” is that the greatest Black contributions have been forged in the crucible of slavery and subsequent decades of oppression as Blacks and the culture have changed laws to be more equitable. Black contributions are as indelible to who Americans are as a culture and society as the Native Indian lands are the foundation upon which this nation has been built and has prospered. Though white oppression and white supremacist tyranny vaults its own greatness in lies, ignoring such contributions, it is a dangerous oversight and underestimation of Black energy, vitality and creativity. American greatness is in its diversity, and the culture and society will thrive if no one is left behind or evacuated. We must work together and seek equity for all to be great (an underlying theme of Cooper’s play).
After the opening prologue the play’s structure alternates between vignettes of various Black Americans’ response to escape to Africa and Peaches’ growing frustration boarding passengers under a deadline as an exit strategy from the hell of the coming white oppression. Cooper’s Peaches is wonderful as the wired, loud, candid, funny flight attendant who prods her passengers with the consequences of staying: prison and confiscation of everything they own or death (transmogrification). With each vignette we are apprised of the oppression Blacks have been conditioned to which is the foremost reason why Blacks should leave.
In the “Circle of Life” sequence which takes place at a clinic (since Roe vs. Wade was overturned with Dobbs, this is a particularly poignant scene) we watch the digital counter enumerate that are millions in line to terminate their pregnancies rather than give birth to a child whose days are numbered. Surely odds are they will end up as a statistic of police brutality, gang violence or other casualty of an oppressive culture which has come to kill those who drive or walk “while black.” Damien (Marchant Davis) tries to convince the pregnant Trisha (Fedna Jacquet) to keep his child rather than abort it. However, he is a spirit, shot to death, so Trisha who waits with another woman for almost two months finally goes into the room for the procedure as the plane arrives to begin boarding passengers in a humorous end of the scene as one pregnant woman thinks the plane is filled with the “9/11 bit*&es,” coming for their heads.
In a revelation of how Black identity is twisted and nullified by the culture, “The Real Baby Momas of the Southside” is a hysterical parody of any of the puerile reality series which reduce women to silly, gossipy, back-biting, angry, fools, whether black or white, as “benign” entertainment value. God forbid if this were a political show which demonstrated their intelligence and erudition. Instead, memes of what Black identity means come to the fore in this humorous and drop-dead serious send-up of shows which exploit the idea of “being Black.” Some of the funniest lines come when the women are off camera (the cameramen are white) and we discover that they don’t have children and speak without accents and epithets. We see the show is a blind to please and brainwash the audience, who enjoys seeing how “low-class” Black women are. Meanwhile, there are other ways of being, but this isn’t a show about how strong, forthright, powerful and intelligent Black women are.
“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 accepting or recognizing any of the horrific sacrifices Blacks have made over their 400-year history in this nation. Cooper’s beautiful example of this appears on steroids with the character Rachonda, whose real name is Rachel (Shannon Matesky). She is a baby mama the others reject because she is white and is going through transracial treatments to become Black. When she is called out on it in a LOL moment by Tracy (Ebony Marshall-Oliver), Kendra (Fedna Jacquet) and Karen (Crystal Lucas-Perry), 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. She never receives the email inviting her to escape to Africa, caught between her memes and unconverted to her “full Blackness,” an irony.
In the last two vignettes before Cooper’s exceptional, heartfelt conclusion, the first reveals a wealthy Black family who embrace white upper class mores, genociding their own identity to convince themselves they belong to the superior, fascist, master race (like a celebrity who recently praised Hitler). By internalizing white supremacist values, they don’t even realize they have destroyed their identity, their souls and their uniqueness. Furthermore, by adopting the”white” ethos as the proud bourgeois class, they have trampled all those who have shed blood to advance the hope of achieving civil rights, equal opportunity and justice by overcoming institutional racism. The bourgeois family don’t believe they are oppressed because they live by the “green.” The supremacists would never come for them because they have money.
We don’t realize how brainwashed they are until Black (the amazing Crystal Lucas-Perry) emerges from her prison underneath the mansion where their wealthy father has chained her for forty years. Finally free, Black confronts them in one of the most wild, convulsively humorous and hyperbolic rants about their blackness and the imperative to leave for Africa. They are so “white-fascist-think,” the truth she speaks is anathema. They kill her (typical Black on Black crime). The neighbors hearing “Black” screaming non bourgeois are infuriated about it. They call the police right at the precise moment Black has been genocided.
The scene is a powder keg of dynamite performances which are memorable and tragic because the family believes that they are a different identity via the “green” (money). It doesn’t matter if they stay or go. They have already lost everything valuable about what their culture means. Staying, they lose their lives. Cooper’s theme is clear. An oppressive fascist culture has as its most horrific tactic, get blacks to destroy the finest traits about them, their Blackness, by rejecting it and internalizing white tropes. 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 (Crystal Lucas Perry transitions to a completely different mien and aura) hesitates to leave. In great fear and rage from all the abuse of her past, she creates a situation where she almost destroys 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 doesn’t make the flight to join those evacuating the US, are memorable scenes. They leave the audience in awe. The majesty of the actors’ performances and the stark language laden with substance and richness are stunning.
It is a supreme irony that though there is not one Caucasian in his play, Cooper’s themes and messages are particularly for those who have been blinded to believe that their skin color exempts them from white supremacy’s tyranny. It is only a matter of degree. Despotism impacts everyone in the culture as Cooper indicates in the last scene of the play.
In the end scene, the jet pulls away as the Blacks leave for Africa renouncing everything to go to a safe haven, while Peaches is left “holding the bag,” though it cannot be pulled up from the very place on which it rests, having become rooted to America. Cooper’s hyperbole may seem a farcical extreme. However, what they escape in the play we all faced because of the tyranny of the former president, who weaponized of a pandemic which killed a larger proportionate number of blacks and people of color. The blasphemous white supremacist tyranny the Blacks escape via his play’s metaphor, in reality, incited an undeclared war against U.S. democracy in a violent insurrection to thwart the peaceful transfer of power when Trump lost the election. Cooper’s understanding of the murderous intent of white supremacy is divinely inspired. He is a veritable Cassandra in his ability to read the ominous signs and incorporate them in this play. So the point that the only safe haven from such white tyranny is a return to Africa has been made palpable in the Ain’t No Mo, 2022.
The work is breathtaking in its themes, performances, writing and artistry. Don’t miss it. For tickets and times go to their website https://aintnomobway.com/ You will belly laugh and be moved at the same time.
‘Chicken & Biscuits’: Delicious Farcical Fare @ Circle in the Square
In this current time of COVID when our country faces daily crises of social disunity, dangerous political extremism, economic injustice and abdication of sound public health practices by craven Republican governors, Chicken & Biscuits written by Douglas Lyons, directed by Zhailon Levingston appears to lack currency on superficial inspection. Benign family squabbles, sibling rivalry, death and succession, a same-sex relationship, such subject matter at the heart of the play is quaint fare for a comedic entertainment that offends no one.
Except Chicken & Biscuits neither lacks currency nor is a quaint, “sitcom,” family comedy. Its levity and humor smacks of farce and satire with dead-on threads of truthfulness. However, if one is dreaming, much will slip past in the twinkling of an eye in this play about black culture, family and the foundations of faith that undergird the best hope for the black American experience in a racist culture that hovers invisibly and surfaces surreptitiously in Lyons’ one-liners.
The occasion is the funeral for the father of the Mabry family. He was the pastor of a Connecticut Pentecostal-type (there is a bit of dancing in the spirit) black church. Succeeding him in the position is Pastor Reginald (played with humor and oratorical fervor by Norm Lewis). The imposing, ambitious, dominant matriarch Baneatta (the funny Cleo King) whose resume would make any ignorant racist’s head spin, stands by his side in the church family.
Gathering with their parents are daughter and son: the accomplished Simone (Alana Raquel Bowers) and actor Kenny (Devere Rogers). Rounding out the family “going home” celebration are Baneatta’s hyper vivacious sister Beverly (the gloriously out there Ebony Marshall-Oliver) and Beverly’s enlightened, wise-cracking DJ daughter La ‘Trice Franklin (the buoyant Aigner Mizzelle). To spice up the explosive, sometimes irreverent proceedings are Kenny’s Jewish lover, Logan Leibowitz (the LOL Michael Urie) and mystery guest Brianna (sweet NaTasha Yvette Williams).
Before the guests arrive Reginald counsels Baneatta to relax and not become embroiled by family machinations. We note Baneatta’s stresses when she prays to God for patience in a humorous riff about her sister. During this preamble to the funeral service, others step in and out of the vestibule. They share their hysterical misgivings and woes about the family interactions to come.
The staging at the Circle in the Square is finely employed; the flexible set design by Lawrence E. Moten III and clever rearrangement of furniture and props serve as a church basement, sanctuary, nave and more. The modern stained glass windows and wood paneling upstage center, flanked by paintings of a black Jesus and crosses on both sides, serve to create the atmosphere of a thriving church. The underlying symbolism is superb as is the assertion of freedom from the typical forms of bondage Christianity.
Each family member, an ironic stereotype of themselves, identifies the complications that will arise as emotional storm clouds threaten on the horizon of the funeral and aftermath. Kenny attempts to soothe Logan who has been disrespected and largely ignored by Baneatta and Simone who cannot brook Kenny’s being gay, nor his attraction to a Jewish white man. When we see them in action with Logan, we note their austerity of warmth with mincing words and behaviors. As they watch him founder in blackland Christendom with two strikes against him, his whiteness and his gay Jewishness, he crumples instead of standing to and giving it back for fear of offense. These scenes are just hysterical and we see beyond to the strength and character of the individuals and their weaknesses.
As Logan, Urie’s ironic, humorous complaints to Kenny when they are alone, set up the tropes and jokes which follow as we watch how Baneatta and Simone treat him like a rare breed of exotic who must give obeisance. Hysterically, Kenny breezily abandons Logan to their clutches: it’s sink or swim time for Logan. Urie plays this to the hilt authentically, riotously with partners, King and Alana Raquel Bowers as the straight women who “bring it.” Watching this is both funny and upsetting. The women are intentionally clever. Their response is anything but Christian, loving and warm, but who is playing whom? We are reminded of the hypocrisy of evangelical churches to the LGBT community who engage in political Republican actions. Though this is a church in Connecticut and its members are most probably Democrats, the similar odor is clear. We wonder, can the situation evolve for the better? Can they achieve common ground?
The only one who accepts Logan with Christ’s unconditional love and hugs is Pastor Reginald. And Logan longingly remembers that Reginald’s Dad (who we discover to be a waggish, wild pastor) showed the same love. For Logan it is no small comfort, but apparently this open behavior was typical of the deceased pastor’s liberalism and Christian equanimity.
Obvious is the clash between lifestyles and personalities of the sisters: the educated achievement-oriented Baneatta, and the wild, flashily dressed, divorced and “out-there” Beverly and her DJ, hip, savvy, “ready for her social media celebrity” La ‘Trice. Mother and daughter counsel each other to “shut it,” projecting widely but not seeing their own faults and outrageousness to care to change. They do it because they are funny and they laugh at themselves. Do they have anything better to do being who they are? Marshall-Oliver and Mizzelle make for a great mother-daughter team.
Truly, the women dominate this world as the service, the sermon and eulogies get underway. Their behaviors and actions are at various proportions of farcical and funny as are all these typical, atypically drawn individuals.
Nevertheless, underlying the laughter and stealthy ridicule of each character being themselves, we get the importance of family and faith community. Despite the miry clay conflicts that emerge as part of the whirlwind of events that race through the play to the end revelation, these individuals have each other’s backs. And entry into the family, as Logan discovers, is not easily won. However, when it’s won, it’s forever.
The service is down-home (different from evangelical) with the hope of less hypocrisy via a more spiritual relationship with God. Thus, when the Pastor preaches in the spirit and dances a bit in the spirit, the audience even takes up the “Amens” in concordance. Indeed, the hope of a better way flows from Pastor Reginald’s fountain of faith. And by the conclusion of Chicken & Biscuits, a better way has been found in the dynamic of each of the family relationships, catalyzed by a mystery guest that Baneatta feared and kept secret for most of their lives.
Chicken & Biscuits serves on many levels. For those who enjoy a riotous comedy/farce with characters that tickle one’s funny bone continually, this is the perfect play. For those who enjoy being entertained, yet also enjoy the illumination that comes when thematic truths about life and people are cleverly revealed without preachy presentments, then this play surely delivers. For those who value the unity of family that never devolves to hatred, division, anger and bitter insult and rancor, the play is a portrait of a black family which resonates through the medium of satire and good will.
Kudos to Nikiya Mathis for her hair/wig and makeup designs: I loved her cool hair design for La ‘Trice, and Baneatta’s sober, contrasting hair and hat, to Beverly’s unsanctimonious hair and feathery headpiece. Simone’s hair design was just luscious. And additional kudos to Dede Ayite’s great, character revealing costume designs, Adam Honoré’s beautiful lighting design and Twi McCallum’s sound design. Their assistance was superb in making this a wonderful romp with circumspection if you divine it.
You need to see Chicken & Biscuits for the cast’s excellent ensemble work, Levingston’s direction and Lyons’ uproarious writing. In all its satiric humor about family “types,” the production took me away from divisive political rancor and stereotypes that follow. Chicken & Biscuits is a welcome joy. For tickets and times go to their website. https://chickenandbiscuitsbway.com/
‘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.