Jacobs-Jenkins, Branden

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    Why Black Satire Is the Art Form for Our Absurd Age

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    Black American novelists, filmmakers and other writers are using comedy to reveal — and combat — our era’s disturbing political realities.LAST SPRING, DURING the Broadway revival of “Appropriate” (2013), Branden Jacobs-Jenkins’s sardonic drama about white family members returning to their ancestral plantation home in southeast Arkansas to bury their father, a rare moment of cross-racial candor transpired — not onstage but in the audience. In the third act, Bo, the middle-aged older brother played by Corey Stoll, unleashes a rant about the burdens of whiteness in 21st-century America. Even a passing acquaintance with the work of Jacobs-Jenkins, who’s a queer Black man, would condition theatergoers to understand the outburst as satirical exposure of a threadbare fallacy of racial innocence. “You want me to go back in time and spank my great-great-grandparents?” Bo says. “Or should I lynch myself? You people just need to say what it is you want me to do and move on! I didn’t enslave anybody! I didn’t lynch anybody!” The speech usually leaves audiences squirming. On this night, however, one person clapped.“They were clapping in earnest,” says Jacobs-Jenkins, as if Bo were “someone who’s genuinely out here now just telling his story — you know, ‘Found his letters and read each one out loud!’” Before the playwright, actors and audience could fully register what was happening, a voice called out from the darkened auditorium: “Are you serious right now?” For Jacobs-Jenkins, 40, the whole thing was a delicious disruption. “Part of what the work is doing is exposing these fissures inside of a community — these feelings that we’re encouraged, as we are with most conversations about race in our country, to nurse in private.” At its best, Jacobs-Jenkins says, the theater can become a space to “risk learning something we didn’t anticipate” about one another.Satire is the art of risk. It relies, after all, on an audience comprehending a meaning that runs counter to what the text reads, the screen shows or the comedian says. In this regard, it’s vulnerable to misinterpretation and to deliberate distortion. When that satire concerns race and when the audience is as diverse and as divided as the United States is today, those risks compound. Why hazard satire’s indirection when even the most straightforward language — the term “woke,” for instance, or the seemingly incontrovertible good of “equity” — is manipulated and weaponized against its original ends? Yet perhaps these are the conditions that demand satire most of all, meeting absurdity with absurdity.I spoke with Jacobs-Jenkins, whose new political family drama “Purpose” is now on Broadway, 10 days before Donald Trump was inaugurated as the 47th president of the United States, the same week that Trump gave a press conference at Mar-a-Lago in which he, among other things, called for renaming the Gulf of Mexico the “Gulf of America,” acquiring Greenland from Denmark and welcoming Canada as the 51st state. The way Jacobs-Jenkins sees it, “this is probably going to be one of the most difficult moments in recent memory to be an American, but it’s also going to be kind of the funniest — because come on! I think the question of this time will be: ‘Are you serious right now?’” The Black American satirical tradition, with its roots in the unfathomable dehumanization of slavery and the persistent pressures of racial discrimination, offers equipment by which all of us might better endure and even combat our lacerating realities.From left: the writer-director-actor Jordan Peele, the novelist Paul Beatty and the playwright Lynn Nottage.From left: Vivien Killilea/Getty for Imdb; Alex Welsh for The New York Times; Bryan Derballa for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Purpose’ Review: Dinner With the Black Political Elite

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      A family not unlike Jesse Jackson’s gets barbecued on Broadway by Branden Jacobs-Jenkins.You may have trouble catching your breath from laughing so hard during the first act of Branden Jacobs-Jenkins’s sophomore Broadway outing, “Purpose,” which opened Monday at the Helen Hayes Theater. Deeply imagined and grave beneath its yucks, it unspools like a brilliant sitcom.Then, also like a sitcom, it jumps the shark.Ah well, mixed emotions go with the territory. If “Purpose” is primarily a merciless dissection of hypocrisy in an important religious-political Black American family — the Jesse Jackson dynasty comes to mind — it is also a grudging love letter to them in all their God-praising, backroom-dealing, self-promotional glory. The problem is that in the constant switchback of perspectives, the play, directed by Phylicia Rashad, grows too hectic and attenuated to maintain a line of conviction.The same could be said of the family, the Jaspers. Chicago-based like the Jacksons — the play originated at the Steppenwolf Theater Company in that city — they, too, are headed by an oratorical pastor who, in his youth, worked closely with the Rev. Dr. Martin Luther King Jr. Also familiar are several possible unauthorized offspring, hushed up but not quite silent. Jacobs-Jenkins cannot help noting that among that generation of Bible-quoting civil rights worthies are enough sins of the father to burden a host of sons.Indeed, approaching 80 and withdrawn from the front lines, Solomon Jasper (Harry Lennix) now reserves most of his thunder for his family. His formidable wife, Claudine, a honeyed matriarch with a law degree, is tough enough to shape it to her own ends as needed. But on their disappointing sons falls the brunt of Solomon’s biblical disapproval.The older son, named for his father, is the more obviously wayward. Raised to uphold Solomon’s political legacy, Junior (Glenn Davis) instead tarnished it when, as a state senator, he was convicted of embezzling campaign funds. These he spent, according to his embittered wife, Morgan, on “cashmere drawers and betting on racing pigeons.”From left, Jackson, Hill, Young and Alana Arenas.Sara Krulwich/The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Why Does Every Play Seem Political Now?

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      Theater about current events — both literally and abstractly — is changing the conversation between playwrights, directors and their audiences.IT’S ALWAYS BEEN a good argument starter to contend that all theater is political, even if the claim sometimes depends on stretching the definition of “political” to its vaguest outer limits. For one thing, unlike movies or television or books, theater requires you to leave your home and participate in the creation of an ad hoc collective, albeit frequently with the irritation that proximity to strangers can engender. And during periods when the people in charge belong to a party that, for instance, evinces loathing for the funding of art and artists, choosing to go to the theater can feel like a political act in itself. That’s all the truer if the experience challenges you to assess where you stand (or sit) in relation not only to whatever is being said or done onstage but to all of the reactions bursting forth around you.The people who create theater sometimes describe it, with what can seem like sanctimony or sentimentality, as a church. But more often, when it’s good, it’s like a community board hearing, not worshipful but prickly and pugnacious. That applies whether you’re in a 60-seat black box watching an Off Off Broadway play or in orchestra seats at … well, here’s where it easily can turn into a parlor game. “Hamilton”? Yes, obviously “Hamilton” is political. OK, what about “Death Becomes Her”? Of course — politics are inherent in a production about gender double standards regarding attractiveness and aging. “The Outsiders”? Class war with songs. The “Great Gatsby” musical? An indictment of kleptocracy, plus some dancing. And so on.Right now, though, the idea that all theater is political is less a rhetorical exercise than an irrefutable reality. It’s no surprise that the current New York season has foregrounded work like the blistering comedy “Eureka Day,” in which a series of steering committee meetings at a crunchy, liberal private school in Berkeley, Calif., turn into gladiatorial bouts pitting pro-vaccine parents against anti-vaxxers; Jonathan Spector’s play was topical when it was first produced on the West Coast in 2018 and is even more so now. Or that Sanaz Toossi’s 2023 Pulitzer Prize winner “English,” a poignant comedy-drama about four people in Iran studying English in an adult-education class, feels as if it were written in response to President Donald Trump’s first week of executive orders this past January rather than, as is actually the case, in response to the travel ban he imposed eight years ago. These plays may be even more resonant than their authors imagined they would be when they started to write them but, from the outset, their impetus was to find the frustrating, the bewildering, the nuanced and the human in our contemporary political landscape.What’s jolting at this moment, though, is how little those works seem like outliers. In the past year, we’ve had revivals that felt explicitly framed to reflect current concerns, like Amy Herzog’s reconception of Henrik Ibsen’s 1882 “An Enemy of the People” as a battle between principled health activism and rapacious capitalism, and the recent deconstruction “Show/Boat: A River,” which reshaped the 1927 musical into a kind of staged essay on the subject of its own racism. We’ve had revivals that read as political because of umbrage taken at their casting: What does it mean to have Audra McDonald play a Black Madam Rose in “Gypsy,” originally staged in 1959, and what does it mean if you insist that that choice, of all choices, violates the supposed principle of realism in musicals? And we’ve had new plays in which politics are baked into their very authorship: What does it mean to have the nonbinary artist Cole Escola create a star turn for themselves as Mary Todd Lincoln in “Oh, Mary!”? (Only good things.) A revival of a show that was never not political, the eve-of-the-Nazis musical “Cabaret” (1966) feels intensified in its implications in 2025, in part because Rebecca Frecknall’s immersive staging, more than past revivals, casts us, the audience, in the role of shamefully oblivious revelers, drinking and making merry in a Berlin nightclub as a world of darkness looms outside and onstage. Even “Wicked,” 22 years into a Broadway run that will apparently outlast us all, has, in the wake of its hit movie adaptation, been rebranded as an anti-authoritarian cri de coeur.The counterargument to all this is essentially that to a hammer, everything looks like a nail, and that plenty of options remain for theatergoers who just want to have a good time (a notion that is always invoked as if work that engages with the world must be the opposite of that). So sure, if that’s your thing, go ahead: Enjoy the stripped-down version of the 1993 musical “Sunset Boulevard” — no, wait, damn it, there’s that impossible-standards-of-beauty-and-aging thing again — or the upcoming musical “Real Women Have Curves,” which … nope, that won’t work either. It’s hard not to conclude either that there are an awful lot of nails out there right now or that, this season, we’ve all become hammers.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      For Playwrights, Making It to Midcareer Is a Cliffhanger

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      Act 1 was a constant struggle for rent and opportunity. But now that these emerging dramatists have emerged, what will they make of Act 2?“Absolutely not,” Branden Jacobs-Jenkins declared.Leslye Headland chuckled. “Oh never, no.”“I don’t know anyone who could!” was Samuel D. Hunter’s astonished response.“Not really,” hedged Bess Wohl. “Until maybe last year.”The question that brought such universal denials from four frequently produced, much-awarded American playwrights was: “Have you ever made enough to live on from your plays?”To win audiences and awards for your efforts is undoubtedly affirming, but the financial returns for dramatists are slim. Even after the premiere of “An Octoroon,” which would later win an Obie Award for best new American play, Jacobs-Jenkins was living in a “horrible sublet on an air shaft,” with a possible case of whooping cough and a definite lack of health insurance. Headland considered herself a success not when her play “Bachelorette” made a splash Off Broadway in 2010, but when she no longer had to work at Rocket Video to make ends meet. And Hunter told me that the most he’d earned in any one year from his plays — including “The Whale” and “A Case for the Existence of God” — was “less than $30,000.”Playwriting has never been a golden ticket, or even, for most, a subway pass. It’s hard enough to get a first play written and produced; getting a second and third off the ground, let alone a 10th, has in recent decades seemed just about impossible. Who knows how many rich voices we never got to hear in maturity?Especially since the Covid pandemic wiped out a host of emerging artist programs and career development grants, the problem has reached existential proportions. Theater, after all, depends on good plays, and good plays depend on authors with long professional horizons. Many of the greatest works of dramatic literature are neither early nor late but in between. (“Hamlet,” “Twelfth Night” and “Othello” are dead center in Shakespeare’s professional timeline.) But how can playwrights have a midcareer if they can’t survive the start?Or so I have often worried.Katherine Waterston, Tracee Chimo and Celia Keenan-Bolger in Leslye Headland’s 2010 play “Bachelorette.”Joan MarcusWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      In ‘Give Me Carmelita Tropicana!,’ Alina Troyano Explores How Art Can Live Inside Others

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      You never can tell where your inheritance will come from, but the playwright Branden Jacobs-Jenkins almost missed out on some of his.In 2007, as a New York University graduate student, he nearly dropped a course on the uses and abuses of sentimentality because it conflicted with a job he had just gotten at The New Yorker. But it was a small class, and he was the only guy. So his instructor — Alina Troyano, the Cuban-born Obie Award winner who teaches under her stage name, Carmelita Tropicana — put up a fight.“He stayed in the class because I begged him to stay,” she said.Thus began an acquaintanceship that turned into a friendship that turned into a collaboration: “Give Me Carmelita Tropicana!,” their hallucinatory new play at Soho Rep. It is the last production at the theater’s longtime home, in TriBeCa, before the company moves into temporary accommodations at Playwrights Horizons in Midtown. Written by the two of them, and starring her, it is about creative legacy, generational change and the ways that autobiographically and culturally specific art made by one person can live, and morph, inside others.In the show, Troyano performs as both Alina and her comic alter ego, Carmelita: a feminist, sex-positive lesbian from Havana who borrows stereotypes to send them up, campily ridiculing bigotry, misogyny, machismo, colonialism. Ugo Chukwu plays Branden.The trippy premise is that when Alina threatens to kill Carmelita, an alarmed Branden asks her to sell him the persona instead. How this would work when Carmelita has lived inside Alina since before Branden was born is the mind-bending question at hand.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Tony Winner Branden Jacobs-Jenkins Returns to Broadway With ‘Purpose’

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      Branden Jacobs-Jenkins had Broadway success this year with a drama starring Sarah Paulson. In February, he’ll return with a new play directed by Phylicia Rashad.Branden Jacobs-Jenkins won a Tony Award in June for the Broadway production of “Appropriate,” his blistering play about a white Southern family grappling with some serious baggage.This season, Jacobs-Jenkins will return to Broadway, now with “Purpose,” a stormy play about a Black Midwestern family wrestling with its own legacy.“Purpose,” which had a well-received run earlier this year at Steppenwolf Theater Company in Chicago, is to begin previews Feb. 25 and to open in mid-March at the Helen Hayes Theater. The Broadway production is being directed by Phylicia Rashad, who also directed the play at Steppenwolf; Rashad, best known for “The Cosby Show,” has won two Tony Awards as an actor, for “A Raisin in the Sun” and “Skeleton Crew”; this will be her first time directing on Broadway.Set in contemporary Chicago, “Purpose” is about the Jaspers, a civically engaged family of preachers and politicians. There are some parallels to Jesse Jackson’s family, but the story is fictional.In the play, the family gathers at the home of its patriarch — a civil rights activist and preacher who had marched with the Rev. Dr. Martin Luther King Jr. — to welcome the eldest son, a politician, home from prison as his wife prepares to serve her own sentence. The gathering is complicated by the presence of the younger son, a divinity school dropout, who shows up with an unexpected friend.The critic Chris Jones, writing in The Chicago Tribune, called it an “absolutely not-to-be-missed” play.Branden Jacobs-Jenkins, with the Tony for best revival of a play for “Appropriate.”Evan Agostini/Invision, via Associated PressPhylicia Rashad, with her Tony for best actress in a play for “Skeleton Crew” in 2022. This will be her Broadway directorial debut.Angela Weiss/Agence France-Presse — Getty ImagesJacobs-Jenkins, 39, has for a decade been touted as among the nation’s most important young playwrights. He is a two-time Pulitzer finalist (for “Gloria” and “Everybody”), but “Appropriate” was his first play on Broadway. It took so long for it to get there that the production, which starred Sarah Paulson, was deemed a revival and won the Tony Award in that category. Now, Jacobs-Jenkins is working on a musical adaptation of Prince’s “Purple Rain” that will have an initial production in Minneapolis next spring, while also preparing to return to Broadway with “Purpose.” (And before then, he has a new Off Broadway show this fall: “Give Me Carmelita Tropicana!” at Soho Rep.)“I’m shocked, honored, surprised, confused, nervous,” Jacobs-Jenkins said in a phone interview, referring to having two Broadway plays in a row. “I definitely feel like there’s some kind of turnover: In this post-recovery period, lots of surprising things are happening.”“I feel like suddenly my cohort is stepping into some new space that wasn’t available to us before,” he added.And are “Appropriate” and “Purpose” related? “Not really,” Jacobs-Jenkins said. “But it wouldn’t be ridiculous to read them against each other.”Though the nonprofit Second Stage Theater owns the Helen Hayes Theater, this will be a commercial production. The lead producers include David Stone and Marc Platt, who are the lead producers of “Wicked”; the film producer Debra Martin Chase; the actress LaChanze; and Rashad V. Chambers, Aaron Glick and Steppenwolf. More

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      Daniel Radcliffe, Pete Townshend and Sarah Paulson Party for the Tonys

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      The actress Kara Young stood surrounded by admirers inside David Geffen Hall at Lincoln Center around 1 a.m. on Monday morning, fielding a swarm of well-wishers after winning her first Tony Award, for featured actress in the comedy “Purlie Victorious.” Her older brother hovered close by and periodically fanned out the train of her lime chiffon dress.Branden Jacobs-Jenkins, the 39-year-old playwright who penned the night’s best play revival, the searing family drama “Appropriate” — and a fellow first-time Tony winner — was next in line to compliment Ms. Young and her gown from the designer Bibhu Mohapatra.“This is a forever iconic Tonys look,” Mr. Jacobs-Jenkins told the actress. “When we’re like 70 years old, they’re going to show you in this.”The performers Kecia Lewis and Camille A. Brown.Nina Westervelt for The New York TimesThe actresses Sarah Paulson and Elle Fanning.Nina Westervelt for The New York TimesBranden Jacobs-Jenkins, the playwright.Nina Westervelt for The New York TimesThe performers Shaina Taub and Matt Gehring.Nina Westervelt for The New York TimesIt was a flash forward on a night when, for many of the Tony Award winners, anything seemed possible. All eight of the acting honorees, across plays and musicals, earned their first-ever Tony wins on Sunday — some for their first major Broadway role or their first nomination, others after four decades in the theater.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Best and Worst Moments From the 2024 Tony Awards

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      Alicia Keys and Jay-Z’s high-wattage performance was a highlight, as were first-time wins for Kecia Lewis, Jonathan Groff and David Adjmi.Ariana DeBose ended her third turn as Tonys host with a mic drop. Otherwise, last night’s ceremony offered a first time for everything and very nearly everyone. All eight winners in the acting categories took home their first trophies. (How is it possible that this is Jonathan Groff’s inaugural win?) The playwright David Adjmi, in his Broadway debut, won for “Stereophonic,” as did its director Daniel Aukin, also a Tony-winning newbie. Danya Taymor took home the prize for best direction of a musical for “The Outsiders,” her initial win. (“The Outsiders” also won for best musical.) In a mellow, equitable night, the other awards were spread among many of the nominated shows, with “Stereophonic,” “The Outsiders,” “Appropriate” and an ingeniously reimagined “Merrily We Roll Again” carrying home the top prizes. Here are the highs and lows — and wait, is that Jay-Z on the stairs? — of the ceremony.Now that’s putting on a show“The Outsiders” won best new musical. As the New York Times’s chief theater critic, Jesse Green, put it, Tony voters went with “the underdog show about perennial underdogs.”Sara Krulwich/The New York TimesThe producers and director were the same, but so much about this year’s telecast was a vast improvement on that of previous years. The pacing was swifter: The main broadcast ended on time and the pre-broadcast ended early. The dialogue was more dignified: no brainless chatter or mawkish introductions. The transitions were smoother: Sets were changed live on camera, saving time and showing us how theater actually works. And the investors who used to throng the stage when their shows won awards — not a good look, plus a traffic problem — were sequestered in some alternative universe and beamed in by video. All this allowed the show to deliver better entertainment while leaving room for thoughtfulness and giddiness, and both together. For the first time in a long time, the Broadway on TV felt like the one I know. JESSE GREENWrong-footed openingSara Krulwich/The New York TimesThe Neil Patrick Harris years set an imposing bar for Tony broadcast opening numbers, and this year’s attempt, a strained variety-show knockoff that prematurely promised “this party’s for you,” didn’t end the drought. The Tonys would have done better opening with “Empire State of Mind” from “Hell’s Kitchen” — the night’s highest-wattage performance, featuring Alicia Keys and Jay-Z. Or, better if not bolder: “Willkommen” from “Cabaret,” which was expertly staged for the camera and drenched in Eddie Redmayne’s kooky charisma. SCOTT HELLERThird time’s the charmWendell Pierce presenting Kara Young with her Tony, which she received for “Purlie Victorious.”Sara Krulwich/The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Second Stage to Leave Its Rem Koolhaas-Designed Off Broadway Theater

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      The company said that it was leaving its space in a former bank in Times Square after 25 years because the rent was too high and the lease had unfavorable terms.Second Stage Theater, a leading nonprofit that presents work by living American writers both on and off Broadway, is giving up its Rem Koolhaas-designed Off Broadway home in a former bank near Times Square, saying its rent was too high and its lease had unfavorable terms.The theater company, which has nurtured multiple Pulitzer Prize- and Tony Award-winning shows over the years, until recently operated three theaters: the Hayes Theater on Broadway, an Off Off Broadway space on the Upper West Side and an Off Broadway theater, the Tony Kiser Theater, in a former bank building at the corner of West 43rd Street and Eighth Avenue.Last year, Second Stage gave up the lease on its Off Off Broadway space. Now it is also relinquishing the Kiser Theater, a 296-seat theater space where it has been presenting plays and musicals since 1999. The Broadway house has been unaffected by the changes. The company said it was committed to continuing to produce work Off Broadway, and was searching for a new place in which to do so.Second Stage is letting go of the Kiser at a time of significant strain on nonprofit theaters everywhere, and at a time of transition for the organization. Carole Rothman, one of the company’s founders and now its president and artistic director, is leaving the organization this summer after a 45-year tenure; the board is conducting a search for her successor.The Second Stage board had agreed to an 8-year lease renewal for the West 43rd Street building in 2021, but decided late last year to exercise a one-time option that allowed it out of the lease at the end of this year.Lisa Lawer Post, the company’s executive director, cited financial concerns in explaining the decision by the organization’s board to terminate the lease for the West 43rd Street building, which is where the company presented early productions of shows including “Dear Evan Hansen,” “Next to Normal” and “Between Riverside and Crazy.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More