GRACE, GRIOTS AND GOODIE BAGS

The Baobab tree is an imposing, if unconventional, tree that grows in Africa along the Zambesi River. Also known as The Tree of Life, it seems to rise from the ground upside down, with root-like branches facing the sky. Legend has it that the once magnificent tree grew arrogant and condescending towards other, lesser trees.  As punishment, the gods ripped the tree from the ground and threw it back, upside down. This lesson on humility  lies at the core of francisca da silveira‘s new Off-Broadway play minor•ity, currently onstage at the WP Theater, co-produced with Colt Coeur. Using the framing device of a charming African storyteller who bookends this powerful and absorbing scenario, the fast moving production quickly drops the audience backstage at a modern-day, upscale, international arts conference. Though hosted in Paris, this annual gathering celebrates the African Diaspora. With confident direction, stellar writing and excellent performances, this tightly knit staging expertly demonstrates the pressures, opportunities, compromises, hopes, racism and limiting expectation that can be faced by Black/African creatives—even those with international acclaim and proven track records. It’s a sobering, sometimes funny, sometimes painful excavation of three Black artists at different stages of life and career. And while the Baobab tree might have an inverted perspective, minor•ity is clear-eyed and entertaining, even while illuminating the murkiness of compromise and creative survival.

Ato Essandoh

Sami is the latest twenty-something wunderkind to be lauded by the American Theater Establishment. Of both African American and Ghanian heritage, this New Jersey born theater maker already has an enviable career. Outgoing, brilliant, beautiful and extremely talented, she is rightfully confident in her abilities. She is also fairly oblivious to how she occurs to other people. Upon her arrival into a backstage holding area at the conference, she immediately engages with a middle-aged, elegant, reserved painter from Cape Verde named Céza. This aloof artist is world famous, yet she hasn’t created anything of significance in a few years. However, her perspectives and creative wisdom are still much in demand, so the striking Céza survives mostly on artistic residencies, teaching and the occasional gig as a guest speaker. Sami, being the talkative (and intrusive) American, doesn’t let up and soon Céza has no choice but to speak with her.

Nimene Sierra Wureh and Nedra Marie Taylor

That is until handsome, expansive Cheikh enters the backstage area. Céza is surprised to see Cheikh, as he had been banished from the festival a few years earlier. Professionally positioning himself as a critical Griot who calls out the hypocrisy and plantation mentality inherent in rich, white, liberal institutions sitting in judgement of Black artists who need support – his previously welcomed vibe of unvarnished truth finally rubbed some organizers the wrong way. Besides, there’s a prickly connection between him and Céza that has nothing to do with Art. Cheikh explains that he is there to find money for his afterschool, arts training program in Senegal. But money from where? Céza is simply there to present on yet another arts conference panel. But is her presence really that simple? Sami rides in on a wave of youthful success, hoping to access the Black Excellence of others. But once connected, is her goal to learn or judge?

Nedra Marie Taylor, Nimene Sierra Wureh and Ato Essandoh

There’s a strong sense of authenticity that underlies Silveira’s writing which makes her work very compelling. She clearly knows these characters and their journeys, giving them sharply defined opinions and voices, even when navigating contradiction, betrayal, disappointment and realization. Sharifa Ali’s keen direction allows space for the myriad  intricacies that reveal themselves, as pretense falls  and relationships are formed and reformed. Silveira’s play-within-a-play structure gets bogged down by a too-long final scene that poses a question that’s probably best left for the audience to ask on its own. And the private revelations, conversations and actions these three fascinating characters continually have in a public space requires a certain suspension of disbelief. Still, the veracity, humor and humanity of Silveira’s writing shine through.

Nimene Sierra Wureh, Nedra Marie Taylor and Ato Essandoh

As Sami, Nimene Sierra Wureh delivers a tour-de-force performance that is deserving of wider attention. She deftly plays every aspect of her character—creating a funny, annoying, intelligent and touching portrait of a talented but self-absorbed young artist. Ato Essandoh shines as Cheikh, who both tells the story of the show and is also prominently featured in the show. The most pragmatic of the three, Essandoh presents a strong if flawed man who understands that compromise is not necessarily a bad thing. As Céza, the beautiful Nedra Marie Taylor creates a haunting portrait of woman at the crossroads in all aspects of her life and identity. The play is really hers and Taylor anchors the production with a dignity, fierceness, and world-weary intelligence that is impressive. Costumes by Celeste Jennings give great support to the actors’ characterizations and are quite appealing in  their own right. Scenic Design by Brittany Vasta cleverly uses temporary piping and drapes to effect the feeling of a quickly rigged conference area, including the requisite water bottles and goodie bags.

Nedra Marie Taylor and Ato Essandoh

It’s tough to be an artist. Any artist. Yet minor•ity focuses down and astutely presents the challenges of being an artist of African descent. Some of the problems are universal. Some are culturally specific. Yet there’s still joy to be found, if one is capable of honest self-reflection. If not, well, you might end up getting tossed onto your head.

Nedra Marie Taylor and Ato Essandoh

photos by Joan Marcus

minor•ity
WP Theater, 2162 Broadway at 76th
co-produced with Colt Coeur
100 minutes
Mon, Wed-Sat at 7; Sat & Sun at 2 (May 4 at 3)
ends on May 4, 2025
for tickets ($10-$100), visit WP Theater