With two plays Off-Broadway this year, playwright Ngozi Anyanwu and director Awoye Timpo are quickly becoming a creative power couple. The Homecoming Queen at Atlantic Theater Company saw a novelist return home to Nigeria after years away, while Good Grief, which has just opened several blocks east at the Vineyard Theatre, explores the lives of Nigerian immigrants to the U.S. through their children.
A teenage boy goes missing, and his foster sister embarks on an urban odyssey to track him down in the Playwrights Realm’s brazen production of The Revolving Cycles Truly and Steadily Roll'd. Early-career dramatist Jonathan Payne unleashes a Pandora’s box of theatrical devices, including symbolically named characters, direct audience interaction, screen projections, a live-streaming cellphone, and actors not only breaking the fourth wall but breaking character as well. Veteran off-Broadway director Awoye Timpo molds it all into a bracing panorama of societal failures amid institutional racism. That is, until the final scene when, with the play’s momentum waning, she and Payne risk one last gambit that unfortunately swallows up all that came before it.
Don’t go to The Homecoming Queen expecting a story involving tailgate parties and Hail Mary passes. This thoughtful, emotionally wracking drama doesn’t even take place in the United States. It’s the story of a homecoming of its heroine, Kelechi, to the African village in Nigeria that she left 15 years earlier to build a life in the U.S. It’s about culture shock, revenge, guilt, and, strangely but pertinently, the damage wrought by rape.