An uproarious play comprised of vignettes that deftly satirize post-“post-racial” America.

Jordan E. Cooper’s Ain’t No Mo’ is a hilarious satirical odyssey that needles post-Obama racial realities of life in the U.S. The time is the near future, and a giant plane has been chartered to take Black Americans “back to Africa.” Hurrying passengers down the runway is Peaches, a flight attendant (played by a performer in drag) who is organizing the boarding process. Within this frame, Cooper examines lives torn apart by gang violence, the aspirations of a Black middle class eager to leave behind those they feel are beneath them, and the equally delusional aspirations of some white Americans to “transition” into Blackness. Ain’t No Mo’ is a laugh-a-minute comedy that doubles as a serious investigation of the ways that Blackness in America has always been both a burden and a prize.

Thought-provoking and electrifying…Ain’t No Mo’ both honors its ancestors and loudly makes a stand for its own unique perspective. —Greg Evans, Deadline

The time is the near future, and African American Airlines Flight 1619 has been chartered to take Black Americans “back to Africa.” Organizing the boarding process is Peaches, a flight agent in drag who is juggling the passengers’ excitement and reluctance, as well as her own. Presented in eight vignettes, Jordan E. Cooper’s Ain’t No Mo’ is both a satire and a serious investigation examining the ever-varying facets of the Black American experience: lives affected by violence, class tensions, the prison-industrial complex, and culture vultures.