Jeremy O. Harris makes an impressive splash with Slave Play, a fascinating, often hilarious, sometimes bumpy look at sex and power in modern interracial relationships. The New York Theatre Workshop production is also a prelude to Daddy, a second play of Harris’s that will be seen in the spring at the Vineyard Theatre.
Robert O’Hara’s new play, Mankind, opens with a gay couple’s strained pillow talk, as one man, Jason (Bobby Moreno), advises his partner, Mark (Anson Mount), that he is pregnant—by Mark. From that simple start O’Hara spins a broad, futuristic satire of sexuality, feminism, religion, commerce and talk shows. It’s more than the playwright is able to manage smoothly, and much of it feels familiar, but it has its moments before it arrives at its circular ending, one reminiscent of Ben Hecht and Charles MacArthur’s Twentieth Century.
At the center of Kirsten Childs’ new musical, Bella: An American Tall Tale, is the title character, “a big-booty Tupelo gal.” Although the “tall tale” labeling promises lightheartedness, there isn’t any blue ox or apple-seed scattering to be found. Childs’ formula for a tall tale includes some dark material, and the tone of Bella veers from cheerfully tongue-in-cheek to just plain vulgar, from wildly inventive to hackneyed.