And that's a good thing. Too often, in the theater and elsewhere, the assumption is made that the only thing people of color care about is the subject of race. Which, of course, isn’t true at all.
So it’s significant that an African-American playwright as talented as Jacobs-Jenkins (click here to read a profile about him) has broken free from the pigeonhole and chosen to speak out about another strain on contemporary American society: the trivializing tendency to commercialize even the worst moments of our lives.
Its largely Ivy-educated editorial assistants are the usual motley crew of a slacker guy with a going-nowhere book proposal secreted away in his desk drawer, the office princess who can’t even bother getting to work on time and an earnest worker bee.
As the show opens, they're all griping about their demanding bosses and gossiping about a depressing party given the night before by the mousy copy editor Gloria and attended by only one of them, the slacker Dean.
As regular readers know, I try to keep these posts spoiler free but I want to be even more careful than usual in describing this show because much of its power comes from not knowing what will happen next.
And here's another remarkable thing about Gloria: aided by the deft direction of Evan Cabnet, Jacobs-Jenkins doesn’t overplay the characters' literal or moral tugs-of-war, which makes their solipsism—and, by implication, that of the broader society—all the more disturbing.