Chicago’s theater scene is currently spotlighting plays that explore the experiences of Black women amid the complexities of the COVID-19 pandemic. MPAACT recently concluded its run of Squat by Tina Fakhrid-Deen, set in a Bronzeville condo where neighbors and lovers grapple with their relationships while sheltering in place. Adding to this thematic exploration, Kristen Adele Calhoun’s Black Cypress Bayou is running through March 15 at Definition Theatre, examining similar issues within a local context.
Shattered Globe Theatre joins the conversation with the Midwest premiere of Morning, Noon, and Night by Kirsten Greenidge, which runs through March 28 at Theater Wit. The play centers on a Black single mother, Mia, and her daughter Dailyn as they navigate the aftermath of the pandemic along with a myriad of contemporary issues, such as the rise of artificial intelligence, societal expectations placed on Black women, and the struggle to find safety while feeling trapped.
Directed by AmBer D. Montgomery, the narrative of Morning, Noon, and Night prioritizes the mother-daughter relationship over the pandemic itself. Despite its different tone compared to Calhoun’s work, common themes emerge, particularly the resilience and support women provide one another. The play oscillates between humor and darker undertones, ultimately revealing the emotional depths of its characters.
Mia, portrayed by Kristin E. Ellis, is depicted as juggling remote work while managing her teenage daughter, Dailyn (Emefa Dzodzomenyo), who struggles with existential despair and her mother’s evident depression. Dailyn’s dialogues often reflect her anxiety about the environment, articulating a sense of urgency with phrases like, “there are only 12 years left before the planet collapses,” alongside quirky observations about their daily life choices.
The visual representation of their struggles is evident on stage, with Jackie Fox’s set design illustrating a home overwhelmed by clutter, symbolizing Mia’s mental state. The living room is filled with clothes and unopened packages, evoking a sense of stagnation and denial as Mia attempts to maintain the façade of normalcy while grappling with her inner turmoil.
Amid these challenges, Mia is also attempting to organize a birthday party for her estranged oldest daughter, Alex. Dailyn seeks assistance from a fictional AI character, Miss Candice (Leslie Ann Sheppard), designed to resemble a 1950s housewife. As the narrative unfolds, it becomes clear that Miss Candice is not merely a figment of Dailyn’s imagination but an AI creation that eventually manifests in the physical world, adding a surreal twist to the story. Projections from Abboye Lawrence enhance this experience, juxtaposing the idealized life portrayed in classic commercials with the messy reality of Mia and Dailyn’s lives.
Support comes from Dailyn’s friends, Nat (Hannah Antman) and Chloe (Soren Jimmie Williams), as they begin to uncover the hidden struggles within Mia’s household. Mia’s best friend, Heather (Christina Gorman), adds another layer of complexity, embodying the cautious approach to COVID-19 while also demonstrating a willingness to aid Mia in her time of need.
Mia’s reluctance to accept help resonates deeply, reflecting a broader cultural narrative surrounding the expectations placed on Black women to be self-sufficient. This theme of isolation versus the importance of community support underscores the play’s emotional core. While not every element of Greenidge’s script perfectly aligns—such as Dailyn’s somewhat implausible belief that creating an AI avatar would attract governmental scrutiny—the character interactions are genuine and relatable, highlighting the shared human experience of coping with life’s challenges.
By the end of the 90-minute performance, even in the absence of their AI companion, Mia starts reclaiming her identity with the support of her loved ones. The warmth and authenticity displayed by Montgomery’s ensemble contribute to a narrative that ultimately affirms the importance of vulnerability and connection amidst personal and global crises.
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