Speaking from a completely unbiased perspective, this production is mind-blowingly astonishing and everybody should beg, borrow, or steal to see it asap.
[Dr. Doofenshmirtz Voice] and by unbiased I mean completely biased.
It's a weird play for Broadway for sure. What you have to remember is that when this play was first produced it was done at Young Jean Lee's Theater Company, where Lee herself premiered many extremely experimental plays. The context for this play (including the pre-show) is designed to be viewed by an audience expecting an experimental screed against the white man, so when the play instead is a naturalistic human drama about the difficulty of manhood, it becomes about revers
Enough talk of celebrities. Let's discuss the one truly important topic—me.
Pass Over at LCT3 Jun 15
2018, 05:51:57 PM
If by derivative of Suzan-Lori Parks, you mean derivative of Topsog/Undersog, I concur. It’s a shame this play has about 10% as much to say as that play.
Public Theater Jun 5
2018, 12:45:58 PM
Ain’t No Mo was abysmal.
I would say that this piece of theatre is what LeCompte and all at the Group have been leading towards their entire artistic career. Truly the most fully realized vision of what the powers of their work can build to. An astonishingly gorgeous work of art that sadly will slip under many peoples' radar.
Angels In America @ Berkeley Rep Apr 26
2018, 10:06:30 AM
NO, KAD. The only good theatre is BROADWAY. Off-Broadway? Nothing good has ever come of that. The Goodman? Guthrie? OSF? ART? Berkeley Rep? Garbage.
Dance Nation at Playwrights Horizons Apr 25
2018, 11:18:44 AM
Well *I* saw it and it very nearly lived up to my astronomical expectations. Hilarious and wise. Possibly the first important new play of the year?
