Two new productions opened on Broadway within the last few days, demonstrating that Broadway, at the very least, can accommodate works of remarkable diversity – a diversity in levels of ambition not least.
One takes remarkable chances and all but announces the arrival of a singular new theatrical voice. The other, with a team of immensely talented Broadway veterans both on stage and behind the scenes that so relies on overused formula and tired tropes that it can’t even breathe life into some of the most irresistible pop songs of the last half-century.
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.
But in so many ways, Ain’t No Mo’ both honors its ancestors and loudly makes a stand for its own unique perspective. Don’t expect perfection in the messy brilliance – what a disappointment that would be.
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