Ain’t No Mo’
Opening Night: December 1, 2022
Theater: Belasco Theatre
Website: aintnomobway.com
Ain’t No Mo’ dares to ask the incendiary question, “What if the U.S. government offered Black Americans one-way plane tickets to Africa?” The answer is the high-octane new comedy from the mischievous mind of playwright Jordan E. Cooper. Moving faster than a transatlantic jet plane, this unprecedented, unpredictable comedy speeds through the turbulent skies of being Black in today’s America.
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December 6, 2022
The revolutionary power of Black joy takes center stage in the Broadway debut of Jordan E. Cooper’s ravishing play, Ain’t No Mo.
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December 2, 2022
It is confident in its voice, in its beliefs, in its artistry, in its wicked humor and angry pain — or pain-laden anger. It is also confident that Stevie Walker-Webb’s production and the cast, both of which are largely unchanged from the play’s premiere at the Public Theater, in 2019, can handle it all.
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December 5, 2022
In this new life there ain’t no mo strife, no more marches to be led and no more tears to be shed.” And for the remainder of Jordan E. Cooper’s rambunctious masterwork “Ain’t No Mo,” cutting social satire like this abounds.
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December 3, 2022
Explosive as a hand grenade of laughing gas, it’s heady and hysterical and fearlessly provocative. Its keen observations about race as both social construction and lived reality crackle like a lit fuse.
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December 4, 2022
First, the good news: Ain’t No Mo’, the audacious Broadway debut of writer-performer Jordan E. Cooper powerfully directed by Broadway newcomer Stevie Walker-Webb, is a marvel, compelling even when its considerable reach exceeds its grasp, a mix of sketch comedy, satire, social commentary, drama and tour de force performances that places Ain’t No Mo’ are the forefront of the outlandish, take-no-prisoners style of Black theater pioneered by The Colored Museum and more recently joined by Slave Play and A Strange Loop.
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December 2, 2022
It’s a delight to have Jordan E. Cooper kick down the door of Broadway in heels and storm onstage with something as raucous as Ain’t No Mo’.
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December 5, 2022
It feels almost rote to declare Ain’t No Mo’, a play so uproariously, daringly, and satisfyingly true to itself, as groundbreaking. It can start to even sound like a canned line, or an echo of a marketing pitch. But it’s simply true: this is both a powerful and remarkable play, and it is also like nothing ever seen on Broadway. Ain’t No Mo’ cannot be missed.
READ THE REVIEWDecember 5, 2022
Ain’t No Mo’, a badass sketch comedy about the Black experience in America and a mythical airline flight in response to it, is a theatrical excursion you don’t want to miss. This play is fanged, ferocious, and funny as all get out.
READ THE REVIEWDecember 2, 2022
Jordan E. Cooper’s “Ain’t No Mo’,” a blast of a Black Broadway show, doesn’t so much occupy the space between sketch comedy and old-school play as smash a hole in whatever barrier has been assumed to divide them.
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December 2, 2022
We feel the threat of it everywhere though: in the voice of the reality TV director’s booming voice from above (sound design by Jonathan Deans and Taylor Williams), in the threat of a fantastical machine that will turn Black people white if they refuse to leave the country, and in the crushing darkness of the play’s final moments (Adam Honoré’s lighting is used to devastating effect). That can be an unpleasant sensation for the white folks in the audience, but then again, understanding often begins with discomfort. None of us gets a free ticket out.
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