Dominique Morisseau

Bad Kreyòl

October 30, 2024

"Bad Kreyòl" is gifted with a pre-show voiceover from the playwright herself: “To love a people is to learn their language.” This speaks volumes for two women who know what they know, aren’t keen on changing it up any, and are inherently both generous givers and caretakers in every aspect of their lives. And yes, sometimes you need to butt heads. [more]

Sunset Baby

February 20, 2024

"Ain't nothin' sentimental about a dead revolution." Wearing a too-short, too-tight dress, shiny thigh-high boots, and a long fuchsia wig, the twentysomething Nina (Moses Ingram) attempts to plunge these words like a dagger straight into her estranged father's idealistic heart, which has survived a long prison stretch for an armored truck robbery committed decades ago to aid the Black liberation movement. Coming early in Signature Theatre's revival of Dominique Morisseau's "Sunset Baby," it's obvious Nina's flinty declaration will never be genuinely up for debate--at least not for Nina--nor should the audience get even passingly optimistic about a dewy-eyed mending of the broken familial bond between Nina and the recently freed Kenyatta (Russell Hornsby). It's a lot to so quickly take off the dramatic table, but the unrelenting Morisseau does it forthrightly and thoroughly to serve the play's one overriding objective: being true to Nina. [more]

Confederates

April 12, 2022

Dominique Morisseau’s "Confederates," her second play of her Signature Theatre Residency 5, is a clever, but overly talky dissertation on race, power and family. She offers the audience parallel stories alternating between the Civil War era and modern day academia. The contemporary plot involves Sandra (Michelle Wilson, solid), a Black political science professor who is the victim of a racist insult. A period photograph of a slave wet nurse, white infant attached to her breast, was altered to superimpose her head on the slave’s. Finding the culprit spurs Sandra to think about the precariousness of being a Black woman in academia. [more]

Skeleton Crew

January 29, 2022

Set in the breakroom of a stamping plant in 2008, Ms. Morisseau achieves a high level of dramatic writing with this well observed exploration of Black working-class life. Each of the short scenes is perfectly crafted, imparting exposition, plot points and narrative momentum. Morisseau also has created four vivid, appealing and humane characters who speak her authentically rich dialogue and who are majestically performed. [more]

Ain’t Too Proud: The Life and Times of The Temptations

March 30, 2019

"Ain't Too Proud to Beg," “Get Ready,” “The Way You Do the Things You Do,” “Since I Lost My Baby,” “You're My Everything” and of course “Papa Was a Rollin' Stone” are among the show’s more than 30 numbers. Besides those by The Temptations, there’s a choice selection of songs by their contemporaries such as The Supremes. All of them are rousingly performed by the orchestra and the company under the direction of conductor Kenny Seymour. [more]

Paradise Blue

May 25, 2018

In many ways Dominique Morisseau’s "Paradise Blue" shares similarities with August Wilson’s brilliant, if long-winded, Pittsburgh based plays. "Blue" is part of Morisseau’s Detroit Project, a three-play cycle that takes place in three different eras. Blue, developed with the aid of the Williamstown Theatre Festival, the Public Theater and the McCarter Theatre is a snapshot of desperate people occupying a part of Detroit on the verge of vast changes—read gentrification. [more]

Pipeline

July 30, 2017

From Dominique Morisseau, the author of the critically acclaimed Skeleton Crew, Detroit ’67 and Sunset Baby, comes another powerfully provocative and riveting, but overwrought, play which investigates black rage, racial stereotyping, and parental mistakes. Just try to take your eyes off the high octane production by Lileana Blain-Cruz, which has been brilliantly cast with its six actors, all but Karen Pittman (the Pulitzer Prize-winning Disgraced) making their Lincoln Center Theater debuts. Morisseau may not have all the answers but she certainly looks at the questions from all angles. The play’s title is a reference to the metaphor for “the school to prison pipeline” that describes the blighted lives of so many ghetto youths who fail before they finish their education and was the topic of Anna Deavere Smith’s "Notes from the Field" seen Off Broadway last fall. [more]