"Joseph “Jae” Jones’ Zeus brings the exact amount of humorous and oblivious toxic masculinity that drives the plot. His complete cluelessness and frustration over why nobody likes him exercising his God powers over others to bring him pleasure is simultaneously cringey (as it should be) and hysterical. Physically, he is perfect for the role, fit as a fiddle, with fine-tuned muscles flexing all over the stage. He has a stoic and unyielding energy on stage, and his budding friendship to Sissy Fuss is believable and palpable. He works together perfectly with Ta’Von Vinson’s Sissy Fuss, and has a plethora of funny moments with the rest of the cast. "
" Henderson was joined by Jae Jones as Dad, Dontrell Jones Jr., to complete the parental unit. He, too, held all power during his scenes with expert comedic timing (even with a mouthful of cake) and both a tender and stern approach to disciplining Dontrell after he verbally abused his mother. The pair’s presence on stage anchored the family in truth, giving a wholistic, but not stereotypical, view into the modern Black family dynamic. Jones also appeared at end of the piece as that nameless ancestor articulating, in Yoruba, a similar message to Dontrell’s parents: you are loved and seen by those who have come before. "
"The Father, Dontrell Jones Jr. (Jae Jones) are played a bit to the stereotype of a family that you might see on television and yet they’re so perfectly in their respective elements that you feel wholly encapsulated by their portion of the narrative. A good deal of the chuckles and humors come from the somewhat dysfunctional relationship between Henderson’s Sophia and Jones’ Dontrell Jr.— the shouting back and forth at one another from separate rooms, the insistence that the other is right or one is gonna show the other what’s what— it’s hilarious and true to family form; it puts the fun in dysfunction as it were."
"Jones’ portrayal of the father may initially seem detached, but when he lets loose on Dontrell and goes on this emotionally charged tear of “I want bitches guarding my door” (a profound and beautiful reclamation speech for that term written by playwright Nathan Alan Davis) it’s enthralling. Watch out for Jones at the end of the performance as well, taking up a different mantle that will leave you stunned. "
New Adaptation Prioritizes Inclusivity; Direction Fosters Realistic Family- Comedic Take Provides Lively Fun For ALL Families!
Are you ready for a holiday outing that’s lively, family-oriented, woman-centric, kid-friendly, involves no sugarplums and keeps it real?
…a fresh new look at the classic text…shows the deep love of a community for all of its members.
The story of “Little Women” has offered a feminist examination of women’s roles in society since the time it was written.
But considering at its face value, Little Women seems to be a mere fictional story focused on the 19th century domestic lives of four young American women living in genteel poverty, it is curious why this story would make such an impact on its readers and become a staple of classic American literature ever since.
On its face, this serious topic might not sound like fertile ground for comedy. But “The Code Switch,” a hilarious new satire written and directed by Shakill Jamal, is ready to entertain + enlighten.
…a hilarious new satire…ready to entertain as well as to enlighten…a tight, solid ensemble of six actors…wonderful…
“The Code Switch,” a Sisters Freehold Production, continues at the Theatre Project through July 30. So, what does the term “code switching” means to this production?
Playwright Shakill Jamal uses a range of techniques that depart from conventional plot and characters.
Copyright © 2024 first attempt - All Rights Reserved.
Powered by GoDaddy
We use cookies to analyze website traffic and optimize your website experience. By accepting our use of cookies, your data will be aggregated with all other user data.