Premiering at the Public Theater in 2019, Ain’t No Mo’ nabbed well-deserved critical acclaim as a seriously funny look at aspects of contemporary Black American society. The comedy won audiences, too, enjoying a nearly two month-long stint at the Public’s 299-seat Newman stage.
“One very smart, slick show that deserves a longer run,” I wrote about Ain’t No Mo’ back then.
What I admired then still applies, since Jordan E. Cooper’s satirical play and its sharp staging have not changed substantially in the move uptown to the 1,000-seat Belasco Theatre, where the show bowed on December 1.
Many critics again applauded its wicked charms. Both of my New York Stage Review colleagues endorsed the production with five stars. When I caught the show again on Wednesday, the lusty audience reaction appeared to be overwhelmingly positive.
The trouble is that Broadway customers are not buying into it.
Last week the show played to only 47% of the Belasco’s potential capacity. Ain’t No Mo’ is slated to shutter after Sunday’s matinee. Check that: as we go to press, the run has been extended to Friday, December 23.
What happened? A combination of long-recognized forces can be blamed. More than ever the Broadway menu caters to the tourist and family crowds, which tend to favor 1. Musicals; 2. Recognizable stars; 3. Stories/shows that people already know. Ain’t No Mo’ strikes out on all three counts.
Then between its sophisticated issues and rough language, Ain’t No Mo’ is an adults-only event, so forget the kiddies.
Since Broadway has returned to post-pandemic business, more productions than usual have been about the Black experience. Among the dozen straight plays currently running, half of them involve Black themes and stories. So without going into the whys of it, lately they have been competing for an audience.
Just because Ain’t No Mo’ is trenchantly written and makes significant points about race and racism in their many varieties – arguably the number one topic of our American times – does not guarantee that people want to buy it. And generally speaking, ticket prices are ridiculous (although that’s a sad song everyone sings).
Taking a long view of things, a worthy play that exits too soon on Broadway is what’s known as a “Beautiful Loser” and the venerable Belasco has briefly sheltered any number of such lovelies over its 115-year history.
Fortunately, with a six-member cast and relatively modest scenic demands, Ain’t No Mo’ looks like a piece that will become popular among regional companies, so audiences elsewhere will get the chance to appreciate its prickly satirical pleasures. Hopefully the obviously gifted author is readying other works in his creative pipeline and at least this showcase is likely to garner him future opportunities. In the meantime, Broadway is a poorer place for losing such a beauty. You might want to make a quick trip to the Belasco, at that.
Ain’t No Mo’ opened December 1, 2022, at the Belasco Theatre and runs through December 23. Tickets and information: aintnomobway.com
