‘Bad Kreyòl’ tells story of Haiti through Haitian eyes

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Dominique Morisseau’s new work “Bad Kreyòl,” playing at Pershing Square Signature Theatre and presented by the Manhattan Theatre Club, is a story that is very personal to this playwright because it tells the story of the lives of people from Haiti from their perspective.

Morisseau’s father was from Haiti and she had the opportunity to go with him to visit after the earthquake. This play gives details about the terrible things Haitian people have suffered in their country, during the crippling dictatorship and rebuilding the country after the earthquake.

This is a country where proud and hardworking people have been exploited by both outside forces and their own people. Morisseau is direct and candid about the social issues that Haitians face. The drama also deals with the guilt that Haitian Americans experience as they struggle to figure out how they can help those in their homeland.

The playwright gives us two cousins: Simone, who is Haitian American and is visiting her cousin Gigi — her last family member born and raised in Haiti. Their coming together was the dying wish of their grandmother, the family matriarch. Gigi is running the grandmother’s boutique, which she has transformed into a high-end clothing store. She has as her worker Pita, whose family sent him to live with her family when he was a youngster. Back in those days, families sent their children to live with other families who were better off so they would have the opportunity to get an education and work.

Pita is like family to Simone, and she is also protective of him. Pita is flamboyant in his dress and manner — something very dangerous in Haiti. This is a country where members of the LGBTQIA+ community are targeted by gangs who will attack and kill them just for their sexual preferences.

Due to poverty and the earthquake, many women in Haiti had to turn to prostitution to survive. NGOs (nongovernmental organizations) came in and developed programs to teach women a trade so they could make money that way. The playwright vividly describes the way these programs take advantage of the people they are there to help, and sometimes the abuse that these already-demeaned women have to endure.

This play paints a disturbing picture of the difficulties that Haitian people are facing to survive. It also shows the frustration that Haitian Americans feel about not being able to completely understand and assist members of their own country and culture.

This cast will entertain, educate, and move you. Kelly McCreary is dynamic as Simone, who is struggling with trying to find where she fits in with her people in her country, and feels guilty that she can’t do more. Pascale Armand delivers a powerful performance as Gigi, who comes off at first as a hard person who automatically tries to hold people back; then you realize she is actually trying to protect people and just doing whatever she needs to do to survive, However, she is still able to distinguish right from wrong and draw a line to hold people, including herself, accountable, to lessen the exploitation of the Haitian people.

Jude Tibeau is charming, funny, and poignant as Pita, a gay man in a society that makes his sexuality a matter of life or death. He demonstrates bravery and fortitude in not allowing his fear or society’s ignorance to stop him from being his real self. Fedna Jacquet is marvelous as Lovelie, the former sex worker, now a craftsperson with a dream. Andy Lucien gives an illuminating performance as a businessperson actively and consciously exploiting his people for his own profit and defending his right to do so.

Tiffany Nichole Greene’s direction is absolutely charming to witness. The scenic design by Jason Sherwood of this boutique is quite detailed, and gorgeous scenery painting depicts the colorful, stacked homes in the Haitian countryside. Haydee Zelideth provides vibrant, colorful costume design; Alan C. Edwards does the lighting design; sound design is by Curtis Craig and Jimmy Keys; and hair, wig, and makeup design are the work of Earon Nealey.

At the performance I attended on Oct. 26, events accompanied the show all day: a vendor’s market with everything from Haitian-culture-themed garments, jewelry, hats, and artwork to food vendors, makeup products, and a fashion show. On Nov. 7, there will be a special performance for the LGBTQIA+ community, beginning at 6 p.m., with a post-show talkback.

Note: There is no late seating for this production, so be on time. For information, go to http://www.badkreyol.com.

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‘Bad Kreyòl’ tells story of Haiti through Haitian eyes

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