Good Bones Off-Broadway Reviews

Good Bones is very different in tone from Ijames's Pulitzer Prize-winning Fat Ham, but the two plays have several themes in common, including generational trauma, conflicting values and ever-present ghosts; exploring these questions from a socioecono...

Good Bones is very different in tone from Ijames's Pulitzer Prize-winning Fat Ham, but the two plays have several themes in common, including generational trauma, conflicting values and ever-present ghosts; exploring these questions from a socioeconomic perspective, not a racial one, shifts the stakes in interesting ways. (Even Earl is complicit in the changes to his community.) Director Saheem Ali, incisive as always, does what he can to animate Ijames’s contemplations of class, code-switching and the corrosive effects of gentrification, and the result is mostly engaging if not always convincing. There may be a great play inside Good Bones, but it needs a bit more fleshing out.

For spouses Aisha and Travis, a charming historic home in Aisha’s hometown offers the ideal renovation opportunity when the couple relocate for her new job. The home has good bones — a solid foundation, sound framing, and long-term durability. Li...

For spouses Aisha and Travis, a charming historic home in Aisha’s hometown offers the ideal renovation opportunity when the couple relocate for her new job. The home has good bones — a solid foundation, sound framing, and long-term durability. Likewise, James Ijames’s Good Bones, directed by Saheem Ali, has the framework of a great new play, with nuanced characters and a charged conflict.

Generosity is also a key ingredient in the mortar that holds together Good Bones, the new play from James Ijames now debuting at the Public after a run last year at Washington, D.C.’s Studio Theatre. Like Hwang, Ijames is concerned with questions n...

Generosity is also a key ingredient in the mortar that holds together Good Bones, the new play from James Ijames now debuting at the Public after a run last year at Washington, D.C.’s Studio Theatre. Like Hwang, Ijames is concerned with questions not only of race and bias but of how Americans are perhaps more shaped by the idea of Americanness than shapers of it. Good intentions, hero complexes, defensive individuality, susceptibility to certain ideas of progress — on these fronts, DHH and Aisha, Ijames’s protagonist, might have much to discuss. It’s prickly territory, but, in their different ways, Hwang and Ijames both navigate it with humor and humanity. Fundamentally, and despite plenty of reasons to throw in the towel, they like people.

The play doesn’t come down on one side of the gentrification debate or another, but neither does it both-sides the issue. It remains rooted in character, and its conflicts are played out in good faith; its piercing ending is, in miniature, a nudge ...

The play doesn’t come down on one side of the gentrification debate or another, but neither does it both-sides the issue. It remains rooted in character, and its conflicts are played out in good faith; its piercing ending is, in miniature, a nudge for us all to reject fear and open our doors and minds, and, most importantly, to fully live in the communities where we live.

“Good Bones,” by James Ljames, the Pulitzer-winning author of “Fat Ham,” is essentially a debate about gentrification, with sharply different views expressed by the characters, and also, perhaps unintentionally, by the set – which winds up ...

“Good Bones,” by James Ljames, the Pulitzer-winning author of “Fat Ham,” is essentially a debate about gentrification, with sharply different views expressed by the characters, and also, perhaps unintentionally, by the set – which winds up the most persuasive of the arguments, and is frankly the freshest aspect of the production.

But with across-the-board stellar performances; a simple set (by Maruti Evans) that slowly unveils the house-in-progress; lighting (by Barbara Samuels) and sound (by Fan Zhang) that’s naturalistic, until it’s not – as Aisha’s gnawing conscie...

But with across-the-board stellar performances; a simple set (by Maruti Evans) that slowly unveils the house-in-progress; lighting (by Barbara Samuels) and sound (by Fan Zhang) that’s naturalistic, until it’s not – as Aisha’s gnawing conscience begins to take shape; and an intelligent script, it’s only a minor stumble.