Jocelyn Bioh

Good Bones

October 21, 2024

James Ijames’ new play now at The Public Theater is quite different from his satiric Pulitzer Prizing-winning "Fat Ham" which appeared there two years ago. "Good Bones" is a realistic depiction of black on black gentrification in an unnamed American city, a theme not often represented on our stages. This provocative and timely play also has some intriguing supernatural elements which are not fully dealt with in Saheem Ali’s otherwise polished and urbane production. [more]

Jaja’s African Hair Braiding

October 10, 2023

"Jaja" is quite different from Bioh's other plays in that it is also very revealing about life in NYC for African immigrants. Directed by Whitney White who has piloted several major new Black plays in recent years, the play is funny, poignant and illustrative. The excellent and compelling cast of 11 includes six fine actors making their Broadway debuts. David Zinn’s detailed hair salon puts every inch of Jada’s Harlem African Hair Braiding parlor on stage down to the last braid and bobby pin. [more]

School Girls; Or, the African Mean Girls Play

November 17, 2017

Ms. Bioh’s snappy dialogue perfectly renders the rhythms of teenage lingo and the pain beneath the bravado, emitting the universality of adolescence. Bioh’s construction is meticulous as the events play out over 70 tight minutes. Besides the foreign setting there’s nothing really “new” about the play but’s it’s so well written and gloriously presented. [more]

The Red Letter Plays: Fucking A & In the Blood

October 2, 2017

Having spent nearly five hours in the company of Ms. Parks’ parade of these beautifully written characters I find myself conflicted about these plays. She is brilliant at generating fire with the source of the heat difficult to pinpoint. It’s her talent to write dramas which sizzle, constructed in her strange vernacular, yet somehow leave too many questions unanswered, the better to prove her one-sided stories. [more]

Everybody

March 3, 2017

The original was aimed at an audience that most certainly was illiterate, so that the clever creators used cartoonish, unsubtle characters who spoke in popular jargon, even spouting profanity, which must have tickled the medieval audiences’ sensibilities and kept them following the actors in their juicy parts. Jacobs-Jenkins follows suit, but with his tongue firmly in his cheek, writing his characters, particularly Stuff (played with a no-nonsense, “from the block” insouciance by Lakisha Michelle May), as immediately recognizable twenty-first century caricatures. When cutie pie child Lilyana Tiare Cornell, playing the character Time, spouts the word “shitty,” the audience at the Diamond Stage giggles nervously. [more]