'All we can do is articulate the things we need to articulate for ourselves, and for the audiences that are there with us. It’s less about what they’re gonna do with it and more about the act of doing it to begin with.' –jeremyoharris
features three mixed-race couples at a sex therapy retreat on an old Virginia plantation , analyzing their problems together with a fourth mixed-race couple of female Yale therapists . Comical, dramatic, and wincingly excruciating at times, the play covers territory Broadway has never explored before. When one psychoanalyst micro-aggressively interrupts her girlfriend’s explanation about microaggressions, it’s funny but also instructive in a “show, don’t tell” way.
Amazingly enough, Jeremy had never even seen his first Broadway play until three years ago. As the opening hour draws near and the nervous energy rises, a cousin pops the cork on a congratulatory bottle of Veuve Clicquot and talk turns to influences. The masterfully written scenes and witty dialogue of“Suzan-Lori Parks,” the Pulitzer Prize-winning playwright most famous forIn the Blood.
I read it when I was 15 and was like, ‘This is the coolest play ever!’ I saw everything about the way she crafted a play. All of that became how I understood theater.” Bringing up the late, great August Wilson is as obvious as mentioning Shakespeare. “I feel like August Wilson is so ubiquitous that he felt mainstream,” he says. “I avoided him when I would talk about the things that inspired me because I felt like it was obvious that he inspired everyone, or at least opened doors for everyone.
After a brief chat about a flight to London the next day , Jeremy continues his train of thought about other major African-American playwrights. “I don’t think that I run to James Baldwin as a playwright the same way that I run to other playwrights,” he admits. “I think what I like is that he was an artist and a writer who could not be contained to a medium, which I think is rare. I aspire to that myself, so I really love seeing that sort of freedom in his work.
Kenny Leon, the most commercially successful Black playwright of the 2000s, “came to Yale the year after I left, so I’ve never met him,” Jeremy says. “But what I can say about his work from afar is that I think he’s less interested in avant-garde art than I am. For me, if I’m gonna see a revival of a play, I’ll probably not go see a Lorraine Hansberry revival [like the Kenny Leon-directed] as quickly as I’ll go see a Columbia University revival of an Adrienne Kennedy play.
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