The question at the heart of “Ain’t No Mo’,” the incendiary and incisive new comedy that opened on Broadway on Dec. 1, is riotously and fruitfully absurd. Consider it a gleeful reframing of a racis…
The question at the heart of “Ain’t No Mo’,” the incendiary and incisive new comedy that opened onon Dec. 1, is riotously and fruitfully absurd. Consider it a gleeful reframing of a racist taunt: Black people have long been told to “go back to Africa” by those whose assimilation into whiteness has blinded them with delusions of America’s purity.
That’s an apt way to describe the divinely made-up visage of Peaches, the flight attendant played by Cooper, who, in the next scene, reveals the play’s overarching conceit in an efficient, if facile, expositional phone call . The last flight out on African American Airlines is departing from gate 1619, and there’s room for every Black person on board. Anyone who looks back or chooses to stay will be transmogrified into a white man, losing their soul and ability to empathize.
Nearly every scene threatens to spin out of control, generating unbridled momentum and almost dissolving into chaos before the play’s organizing principle reins in the action. The strategy works both structurally and metaphorically, putting a finer point on the play’s premise: This country is a mess and it’s time to get the hell out. Consistent as that throughline is, “Ain’t No Mo’” is also a minefield of surprises, totally unpredictable from one minute to the next.
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