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A big hit during its 2019 run at the Public, when the New York Times’s Jesse Green called it “thrilling, bewildering, campy, shrewd, mortifying, scary, devastating and deep,” Ain’t No Mo’ satirizes contemporary Black culture through a series of vignettes, spanning the boisterously comic (see: the “reunion special” of a fictional reality show called Real Baby Mamas of the South Side) and the shatteringly dramatic (see: a moving scene set in the release wing of a women’s prison). Yet, as the wise-cracking airport agent Peaches—a pink-haired equivalent to the main character in George C. Wolfe’s 1987 play The Colored Museum, a primary text for Ain’t No Mo’—Cooper is the audience’s main interlocutor, drawing attention to the play’s central conceit. What would happen, it asks, if every Black person in America boarded a one-way flight to Africa?
A big hit during its 2019 run at the Public, when the New York Times’s Jesse Green called it “thrilling, bewildering, campy, shrewd, mortifying, scary, devastating and deep,” Ain’t No Mo’ satirizes contemporary Black culture through a series of vignettes, spanning the boisterously comic (see: the “reunion special” of a fictional reality show called Real Baby Mamas of the South Side) and the shatteringly dramatic (see: a moving scene set in the release wing of a women’s prison). Yet, as the wise-cracking airport agent Peaches—a pink-haired equivalent to the main character in George C. Wolfe’s 1987 play The Colored Museum, a primary text for Ain’t No Mo’—Cooper is the audience’s main interlocutor, drawing attention to the play’s central conceit. What would happen, it asks, if every Black person in America boarded a one-way flight to Africa?
Adds Walker-Webb: “This is the most American play you will ever see; it is also the blackest play that you will ever see. And I think that Jordan makes those two things synonymous in a really beautiful way.” Let’s be very clear about something as the much-anticipated fifth season of The Crown premieres: Dominic West is entirely too hot to play Prince Charles. Charles’s recent glow-up to king quite frankly pales in comparison to casting West as his prestige-television alter ego. This much is apparent from the early moments of Episode 1, in which the ’90s-era Prince of Wales and Princess Diana (an eerily spot-on Elizabeth Debicki) embark on a sham “second honeymoon” to Italy. West nails Prince Charles’s throaty, particularly posh vocal affect and faintly curly combover. He is accurately costumed in the former prince’s pinky ring and trademark tweedy double-breasted suits. The only problem is that West—sun-kissed, in aviator shades, on a yacht, no less—is too dreamy a man for the role. It tracks that the Hollywood version of a normal-looking person would err on the side of beautiful, but West’s Prince Charles is, plainly, gorgeous; striking; John F. Kennedy Jr.-level handsome. It’s actually distracting! Gone are the awkwardness, prominent ears (sorry), and self-consciousness about perennially being outshone by Queen Elizabeth II and Princess Diana. In The Crown’s retelling, West’s Charles is not only stunning, but a determined, confident, commanding presence.
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