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New York Theatre Workshop, in association with The Playwrights Realm, is presenting in repertory two plays from Mfoniso Udofia’s projected nine-play cycle about the Nigerian diaspora.
The first play, Sojourners, presented barely a year ago by The Playwrights Realm, is set in Houston in the late 70’s. Chinasa Ogbuagu (The Qualms) plays Abasiama Ekpeyoung, a diligent biology student at Texas Southern who works all night as cashier at a gas station even though she is eight months pregnant. Her slacker husband Ukpong Ekpeyoung (Hubert Point-du Jour, The Model Apartment) is allegedly studying economics there too, but he has been seduced by American ways, is growing restless in their arranged marriage, and repeatedly disappears for days. Moxie Wilis (Lakisha Michelle May, Everybody) is a barely literate young prostitute who turns up at the gas station to apply for a job that will get her out of the life. Disciple Ufot (Chinaza Uche) is a lonely, devout Nigerian student who also turns up at the gas station and thinks that meeting Abasiama is a sign of divine intervention. Moxie and Disciple vie for Abasiama’s attention. When the baby arrives, Abasiama is faced with difficult choices about her future. The play has some narrative bumps, but is carried along by the excellent acting. I did feel that the ending was so underwritten that its import might be missed.
Her Portmanteau, which takes place in New York 30 years later, reveals some of the consequences of her decision. Iniabasi Ekpeyoung (Adapero Oduve), a woman of about 30, arrives at JFK and discovers that her mother Abasiama Ufot (Jenny Jules, The Crucible), who was supposed to pick her up and take her home to Massachusetts, is not there. Instead she has sent her daughter Adiagha Ufot (Chinasa Ogbuagu again) to get her and take her to her own Manhattan apartment. For the rest of the play the three women strive to work through the complexities of their relationship to find some kind of closure. Once again the acting is superb and goes a long way to mitigate the play’s slow pacing, narrative infelicities and repetitiveness.
The set design by Jason Sherwood has a frame resembling a large double-hung window, but with bright lights in it, overhanging the stage. Its two panes are used for projections. The stage turntable was quite effective until it broke down shortly before the end of the second play. Loren Shaw’s costumes befit the characters well. Director Ed Sylvander Iskandar (The Mysteries and These Seven Sicknesses at The Flea) keeps the actors going at full throttle too much of the time.
On weekends both plays are presented in one day. It doesn’t really matter in which order you see them. I saw the “second” play in time first, which made it interesting while watching the “first” play to look for clues to how things had reached that point. Both plays have flaws, but the strong performances make them worth a visit.
The running time for Her Portmanteau is one hour 45 minutes with no intermission. The length for Sojuourners is two hours 30 minutes including intermission.
