[vc_row][vc_column][vc_column_text]Playwright, educator, opera singer, and Queen, Mfoniso Udofia has two plays running at New York Theatre Workshop. *pause* TWO PLAYS. In the SAME season!?!? *ends congratulatory gasp* Sojourners and Her Portmanteau are performed in repertory, as two chapters of Udofia’s sweeping, nine-part saga, The Ufot Cycle. Admittedly, before researching each show, I didn’t know the definition of either word; and in the spirit of keeping it consistent with the honesty, I didn’t like either play. I loved them.
Minimalism seems to be the name of the game these days. I sat down to a completely black stage, sans a multimedia display lodged on the ceiling at a 45-degree angle. Clutching my all white program and bobbing my head to the ‘70s pop rock pre-show music, I prepared my heart for the story of Sojourners, well at least that was the plan. The stage begins to rotate and we meet Abasiama (Chinasa Ogbuagu) and Ukpong (Hubert Point-Du Jour), Nigerian expatriates sojourning in Houston, Texas with the plan to start a family, earn their degrees, and go back to Nigeria until life happens.
Charming and handsome, Ukpong becomes defined by his leather jacket, shoulder work and shimmy which match the fascination and yearning for freedom that illuminates his eyes every time he talks of peace, protest, and Prince–all shaping his view of 1970s America, and consequently, the American Dream. But does leather compensate for grit? Is a movement or vibe really a panacea for disappointment, aimlessness, and a need to find yourself? Abasiama enters the play pregnant, purposed, and outfitted in pieces of Nigerian garb, grounded in duty showing a stark contrast to Ukpong who floats in desire. What’s lost in your household is found elsewhere, and this is when we start to see, and root for, Abasiama’s transformation from timid to tenacious.
Enter Moxie (Lakisha May), a colorful prostitute turned protector and friend. There is a mutual respect despite great differences between her and Abasiama, with their love for one another creating moments that make you believe in the beauty of humanity. Enter Disciple (Chinaza Uche), another warm and determined hearted immigrant who has come to the United States to study, rounding out the timely additions of love, support, and security when Abasiama needed them the most.
Through and through this is Abasiama’s story and she glows. Her kindness, her sisterhood, her strength, her worthiness, and the realization of her American Dream, guide her decisions—which is the catalyst behind the entire Ufot Cycle.
Her “portmanteau”, or red suitcase, makes a return as 30 years have passed. Abasiama now has two daughters, one raised in America and the other who has come from Nigeria to reconnect with her family.
This is a good moment to mention that each story is informed by the other, but can certainly stand alone on substance, content, and the amazing direction of Ed Sylvanus Iskandar. The staging is exciting and deliberate, while minimal, putting the full focus on the tension and growth to be expected of a family reunited after a substantial amount of time and distance.
Chinasa Ogbuagu returns to the stage, this time as the American-born daughter, Adiagha Ufot, Adepero Oduye as Iniabasi Ekpeyoung (Ukpong and Abasiama’s daughter), and Jenny Jules as the mother, Abasiama Ufot.
Seated on a couch in Adiagha’s small New York Apartment, no amount of preparation readies your mind and spirit to form the words to make up for 30 years of life, connection, and memories missed. We’re taken on a ride of resentment, hurt, love, and forgiveness, as the portmanteau is literally unpacked. We watch the teeter-tottering between offense and defense as one sister tries to assimilate into American culture, and the other attempts, albeit stubbornly, to fall in formation in honoring a family she shares blood with, but little time or tangible history.
It’s powerful to see a story of history and continuing a legacy despite lost time, faulty promises, and difficult choices explored with an all-woman cast as far too often the idea of legacy is framed in patriarchy. Jules admirably takes Abasiama through the fire to heal, to feel, and to fix her family. The narrative allows us to empathize and understand the struggle that comes with upholding family values versus cultivating a space to achieve personal dreams and happiness.
Her Portmanteau (and Sojourners) is written in a way that finds your soul, gently massaging it with humor, while leaving it with very real questions. I’ve never felt a greater need to binge read nine stories and simultaneously study the story of my own family tree. I left changed. I left wrapped in the strength of my mom and my mom’s- mom’s sacrifice. I left pensive and with seeds of future forgiveness planted. I left changed.
For capturing our hearts with wit and with truth. For putting Black women at the center of a poignant narrative. For unapologetically telling a story you haven’t seen told and telling it in the way you want it to be told.
We thank you Mfoniso. We thank you.
Have you seen the #duetplays? Sound off in the comments below![/vc_column_text][/vc_column][/vc_row]
Our Story in 2 Plays for 1 Price: Mfoniso Udofia’s Sojourners & Her Portmanteau
Last winter, we reported on Sojourners by playwright Mfoniso Udofia, a new play about a Nigerian family who has come to America with the goal of earning a college education, starting a family, and returning to Nigeria. But not without the twists and turns that come along with every plan that seems straightforward.
Thanks to New York Theatre Workshop, we get to relive this moment and continue the dialogue, decades later, with Her Portmanteau. Performed in repertory, these two chapters of Udofia’s sweeping, nine-part saga, The Ufot Cycle, chronicle the triumphs and losses of the tenacious matriarch of a Nigerian family.
Ed Sylvanus Iskandar directs the two-part story in association with The Playwrights Realm, who premiered Sojourners last winter in a limited engagement world premiere production. Her Portmanteau also received the 2016 Edgerton Foundation New Play Award grant.
As if that wasn’t enough to get excited about, we have an exclusive deal for our Broadway Black readers!
Our Story in 2 Plays for 1 Price!
Yes. That’s two shows for one price! The discount code BWYBLACK will take 50% off tickets to ANY performance(s) if purchased by May 15th!
Go ahead and grab your tickets. We have ours!
Sojourners and Her Portmanteau plays at NYTW until June 4th.
We Were There: Condola Rashad and Laurie Metcalf in Lucas Hnath’s A Doll’s House, Part 2
Part of the magic of live theatre is the suspension of reality achieved by sitting in a dark room with strangers as you’re transported to another world. You’re relieved of clearing your work email. You’re unchained from the claws of Sallie Mae. Your anxiety rests. Whether you come to the theatre to laugh, cry, learn, or heal—you come with a clear heart and mind, with the expectation to experience life through a lens that is not wholly yours. Lucas Hnath unapologetically roots us in reality in his play A Doll’s House, Part 2.
In his take on the life after Henrik Ibsen’s 1879 masterpiece, A Doll’s House, Hnath poses the question of what happens when the rocket ship doesn’t take off. What happens when you’re stuck squarely in the confines of your own living room, and more hauntingly, within the raw thoughts of your mind?
15 years later and Nora returns to the very door she slammed, ending the life she shared with her husband and three kids. The question is why.
Walking down the orchestra aisles in John Golden Theatre felt like picking my seat on the floor in front of the television. I cosied myself into my seat and took in the set— the absence of objects that might reference or represent life, love, and family; just as my eyes landed on the enormous black door, the lights went down and the story began.
As a bit of reference, Ibsen’s A Doll’s House is quite “woke,” if I do say so myself, covering topics like the role of women in a marriage, marriage expectations, and women’s rights. Hnath carries this torch into this new work, directed by Fun Home’s Sam Gold, and continues the conversation with poignance.
Laurie Metcalf has the intimidating task of bringing us into the mind of a woman who believes leaving her husband and children was the only way to activate her free will and identity, and she does so with great deliberation. Her Nora, the independent writer who has “made it,” but wants everyone to know the road wasn’t easy, is equal parts sarcastic, petty, touching, and unapologetic.
Image: Brigitte Lacombe
The relatability in Hnath’s voice reverberates back and forth through the fast-paced dialogue. One minute you’re admiring the pleats and frills in Nora’s period-appropriate bodice, and the next you’re realizing, no matter how firm in your beliefs you stand, you empathize and connect with the well-balanced conversations carried out in modern vernacular, from the point of view of Norma, Torvald (played by a sincere Chris Cooper), and Anne Marie (Tony winner Jayne Houdyshell). And did I mention it’s laugh-out-audibly-loud funny?
Smart and endearing, Emmy (Condola Rashad) is a force against her estranged mother’s shameless manipulation. She is curiosity and a second chance, stained, but not damaged, with latent dismay. Although only in the show for one scene, Rashad’s delicate and redeeming grace will leave with you.
We don’t leave the room wondering who was right or who was wrong, rather whose voice is loudest in the back of our own heads as we walk—or not walk—in our truth. Life is complicated, and so is love. What did you take away from A Doll’s House, Part 2? Sound off in the comments below!
For tickets visit A Doll’s House, Part 2
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