East New York, Brooklyn. Nina’s estranged father Kenyatta, a former Black revolutionary and political prisoner, reappears to obtain a coveted piece of her late Mother's legacy. While Kenyatta had visions of changing the world, his daughter became everything he feared. Now he’s at her mercy for his own redemption. This is a story about love, political action, and one woman’s journey from a brutal existence to her own liberation.
These are meaty, complex questions and intriguing to ponder — Morisseau’s plays often sit atop fascinating historical strata, even if their dramatic construction tends to stick to the middle of the road. Sunset Baby doesn’t burst off the stage, but it keeps us intellectually engaged. What it offers for contemplation is the unglorious face of revolution, what Kenyatta calls “the man in the mirror.” That face is tired and worn, full of mistakes and unintended consequences, but Morisseau suggests that it is not the face of failure. It needs rest and grace; it needs to soften. The sun will rise again, and the revolution — unglamorous, daily, personal, imperfect — will continue.
Simone’s ghost haunts this work in a subtle way, shaping the rhythm of scenes and echoing in the actors’ voices. Ingram in particular, under director Steve H. Broadnax III’s elegant direction, makes you believe revolution is only a matter of time.
2024 | Off-Broadway |
Signature Theatre Off-Broadway Production Off-Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2024 | The Lortels | Outstanding Revival | Sunset Baby |
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