Review: Jordan E. Cooper’s Scathing Comedy Ain’t No Mo’ Imagines a Black Migration to Africa
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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