creation stories and all the important importants Off-Broadway Reviews

In the end, creation stories feels a bit like an internal pep talk for which an audience didn’t necessarily need to be present. It may touch on things that can make viewers feel seen, but its central concern is performing a kind of therapy for its ...

In the end, creation stories feels a bit like an internal pep talk for which an audience didn’t necessarily need to be present. It may touch on things that can make viewers feel seen, but its central concern is performing a kind of therapy for its own protagonist — and thus, really, for its own writer. On the third full page of notes at the top of her script, before the play itself begins, Udofia writes: “this play came from a commission where i was asked to write exactly what i wanted. this play is what kept coming out of me… even when i did not want to write it. it nearly broke me. my brain. my heart. my body. oh the pain of this. oh the patience of this.”

Stretches of Udofia’s complex, often lyrical, modern-day drama escaped me entirely. Whether such befuddlement stems from the limits of my boomer background or to Udofia’s magical dramaturgy, or possibly both, it is obvious much care and craft hav...

Stretches of Udofia’s complex, often lyrical, modern-day drama escaped me entirely. Whether such befuddlement stems from the limits of my boomer background or to Udofia’s magical dramaturgy, or possibly both, it is obvious much care and craft have gone into both the play and its glossy LCT3 production at the Claire Tow Theater.

For her new work, creation stories and all the important importants. Udofia turns her gaze inward — creating a stylized autofiction centered on a middle-aged Nigerian-American playwright and theater professor who finds herself struggling with two t...

For her new work, creation stories and all the important importants. Udofia turns her gaze inward — creating a stylized autofiction centered on a middle-aged Nigerian-American playwright and theater professor who finds herself struggling with two types of creation: writing a new work that doesn’t spring from some other, recognizable texts and having a child of her own.

“I can be good to you,” a woman (Abigail C. Onwunali) tells her belly, which she just self-injected for an IVF procedure in hopes of a healthy pregnancy. But in Mfoniso Udofia's creation stories and all the important importants, life will break d...

“I can be good to you,” a woman (Abigail C. Onwunali) tells her belly, which she just self-injected for an IVF procedure in hopes of a healthy pregnancy. But in Mfoniso Udofia's creation stories and all the important importants, life will break down the body and brain of this writer, professor,e and aspiring mom. Textually, it’s an inventive play that explores the expansiveness of imagination with Nigerian mythic elements. But visually, Lincoln Center Theater's production, under director Tamilla Woodard, is a little suffocated in the Claire Tow Theater.