APPROPRIATE

Written by Branden Jacobs-Jenkins

Staff

Director - Joy Nesbitt

Set Design - Fibs Porto

Costume Design - Juliana Schmidt

Lighting Design - Sophie Cassidy

Sound Design - Ivan Birthistle and Leon Henry

Hair and Makeup - Val Sherlock

Stage Manager - Alannah O’Leary

Assistant Stage Manager - David Brydone

Assistant Production Manager - Luke Jenkins

Set Construction - Emmet ‘Brady’ Dunne

Scenic Artist - Aimee Crilly

Costume Department - Gráinne Earley

Lighting Chief and Programmer - Melania Sułowska

Sound Department - Tom Barry

Sound Department - Leo Sheridan

“Can we sit around being casually dysfunctional later and focus for one second?”

The estranged Lafayette family descend upon their crumbling Arkansas homestead to settle the accounts of their recently deceased Father. As his three adult children sort through a lifetime of hoarded memories while colliding over the house’s debris and debt, something is lurking just under the surface. But when disturbing discoveries surface among their father’s possessions, the reunion takes a turn, and the family is forced to confront the sins of their Father.

This production was a part of Gradfest at the Lir National Academy of Dramatic Arts, feature full productions directed by MFA theatre directing students at the Lir. All productions were produced by Loughlin Deegan, and were created under the instruction of professional director, Annabelle Comyn.

This is a play about Whiteness and complicity. It seeks to define that whiteness is a global construct that implicitly profits off of a history of extreme subjection and slavery. In this production, I would like to explore the insidiousness of denying one’s connections to the dark histories associated with white supremacy. Furthermore, the production argues that the continuous regeneration of white supremacist ideas and norms must be unlearned on a familial level in order for there to be change. In the words of Fred Moten, this production suggests, “I don’t need your help. I just need you to recognize that this shit is killing you, too, however much more softly, you stupid motherfucker, you know?” Instead of taking the approach of begging white supremacy to dissolve or to allow BIPOC liberation, the production displays a family slowly being killed by clinging to a white supremacist inheritance. In this way, the drama of this production lies in whether this family will ever be able to free themselves from this harmful legacy or whether they will be consumed and destroyed by it.