Ain’t No Mo’
Wild satiric series of skits with the premise that the U.S. is sending all black people back to Africa post-Obama, from new author and star Jordan E. Cooper.
Jordan E. Cooper’s scathing new racial comedy, Ain’t No Mo’ has made the successful transition to Broadway with five of the six original actors from the previous Public Theater staging in 2019 and a more elaborate physical production from an almost entirely different design team. Delving into Black life and attitudes now, the play is hilarious, but not laugh-out-loud funny, rather it’s impressive because of its cleverness, but its satire does not trigger laughter. However, its outrageous form of satire may not appeal to all theatergoers.
Stevie Walker-Webb, again directing, has gotten the most out of his cast and while the scenes in the Off Broadway production seemed to have gone on too long before, they may have been trimmed as they now seem to land exactly where they are intended. Of the multitalented cast of six African American actors, five are in the majority of the scenes while playwright Cooper appears in three solo sketches.
The promise of President Barack Obama’s administration has come and gone. New playwright Cooper has appropriated this phenomenon head on and written Ain’t No Mo’ which has a unique take on the rampant racism in America these days. According to the play “somewhere beyond now,” the United States government offers to give every descendent of a former slave a one-way ticket back to Africa to their country of origin – or else. This satiric work explores events before, during and after this momentous occurrence.
Starting with the opening Prologue welcoming us to the theater, the language is raunchy, raw and trenchant, making use of words not usually used in polite society but quite funny in this context. The first sketch takes place on the evening of Obama’s election, November 4th, 2008. Pastor Freeman (Marchánt Davis) is conducting a church service for a fellow parishioner Brother ‘Rightocomplain’ who has been killed by the news of the election of the first African-American president as his function in life is over. In an impassioned performance, Davis as Freeman tells of all the things that “ain’t no mo’” now that a black man is in the White House.
Having written the best role for himself, Cooper plays Peaches, a drag queen airline attendant on African American Airlines processing the final “Reparations Flight,” this last one to Dakar, Senegal. In the middle of the gate floor is Miss Bag, “the carrier of our entire story as a people in this country as we make this glorious transition.” Peaches informs us that African-American Airlines is “a dedicated observer of equal oppressions, no matter what color your eyes are,” and that today’s captain will be former President Barack Obama.
People having been processed are warned about turning around on the way to the plane or they will lose their color and turn into a privileged white male with all previous memories wiped out. Playing a bigger-than-life character, Cooper gives a bigger-than-life performance making three appearances in the course of the play between the other sketches each called “Exit Strategy” including the tragic, final one, which leads up to the last plane taking off for Africa.
The third scene, “Circle of Life” takes place at an abortion clinic while Trisha awaits her number to be called. Next to her is her boyfriend or husband Damien who begs her not to go through with it as he believes that the tide is turning and the child could grow up to be a doctor, a movie star or even president of the United States. Then we discover that Damien is no longer in any position to give orders to anyone anymore as he has made a bad decision. Playing Trish and Damien, Fedna Jaquet and Davis are a very real couple caught up in a tense situation.
The fourth scene parodies reality television. Tony Logan’s series is called “Real Baby Mama’s of the South-Side.” While the four seemingly trashy women take questions from the viewers, they refuse to accept black “Rachonda” who is transitioning from white “Rachel” to be the first Transracial cast member. When it turns out that the four are actresses playing parts written for them, a real life fight occurs that thrills the producer looking for a Jerry Springer event: who are the REAL black women? Farmer, Shannon Matesky (new to the Off Broadway cast), Ebony Marshall-Oliver and Crystal Lucas-Perry have a ball as the insults fly between them as Davis as Tony Logan tries to referee.
In “Green,” Cooper explores race through economic status. Marie (Jacquet), the matriarch of a family of black millionaires who behave like their white suburban counterparts, has called a meeting to discuss the government email that they return to Africa or “face extreme racial transmogrification.” Although they ignore it all along, we hear a chain rattling in the basement which they conclude is one of their father’s old machines. For Marie, the only color that matters is “Green,” the color of your money.
Suddenly they are confronted with “Black” who has broken free from confinement in the basement for 40 years by their father and claims to be the only one in the room to represent the family’s blackness. In order not to be embarrassed before their neighbors, the family takes matters into their own hands when “Black” will not return to the basement. As the unwanted visitor, Lucas-Perry makes the most of a speech which defines all varieties of Blackness in the United States.
The seventh and next to last scene is called “Untitled Prison Play.” Three inmates are awaiting release in order to board the plane to Africa in good time and are given the belongings which they had on their persons the night of their arrest. When it is the turn of Sharon Kilton, nicknamed “Blue,” she objects that something is missing. Ultimately, we realize that it is her soul that has gone missing during her incarceration. Lucas-Perry, in another tour de force role, is extremely poignant as she searches for something she is never going to get back.
Scott Pask’s six settings including the realistic airport terminal immediately telegraph the locations in precise detail. The costumes by Emilio Sosa fulfill all of the needs of this multi-scened work and for characters of all different economic levels. Most memorable is Cooper’s pink suit with a black and white airplane as a hair pin. Complementing this outfit is designer Mia M. Neal’s pink wig and elaborate makeup for Peaches to complete the picture. Designer Adam Honoré’s lighting shifts subtly for each sequence. Other members of the production team whose work adds to the event are Jonathan Deans and Taylor Williams’ sound design and Rocío Mendez’s fight direction.
While Ain’t No Mo’ is extremely topical and hits all the right buttons in a very original manner, the play seem to go on a bit long as the audience awaits the expected ending. The individual scenes are varied but satire seems to repeat itself. Nevertheless, Jordan E. Cooper is a remarkable new talent both as writer and performer. Under Stevie Walker-Webb’s astute direction the versatile six-member cast is totally attuned to Cooper’s humor and rhythms.
Ain’t No Mo’ (through December 23, 2022)
The Public Theater production
Belasco Theatre, 111 W. 44th Street, in Manhattan
For tickets, call Telecharge at 212- 239-6200 or visit http://www.aintnomobway.com
Running time: one hour and 50 minutes without an intermission
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