“” by Dominique MorisseauBad Kreyòl,” by acclaimed playwright and 2018 MacArthur Genius Grant recipient, is on stage at the Signature Theater on 42nd Street through December 1. The co-production with the Manhattan Theater Club marks the final chapter of Morisseau’s first residency, which has presented a series of his works since 2018.

“Bad Kreyòl” was born from a trip Morisseau made to Haiti with her father, brother and husband four years after the 2010 earthquake. With the initial intention of writing a “post-earthquake” piece , she has instead created a work rooted in the encounters and ideas she experienced during her journey.

The play centers on Haitian American Simone as she reconnects with her cousin GiGi, the owner of a high-end boutique in Haiti, fulfilling their grandmother’s wish to bridge their family’s worlds. While seeking meaningful involvement in Haiti – perhaps with a local project or organization – Simone’s American perspective often clashes with GiGi’s, highlighting the differences in their values ​​and approach to daily life. These differences are sometimes helpful, but other times complicate Simone’s ability to navigate an unfamiliar social landscape.

Morisseau, who is also Haitian-American, grew up in Detroit, which served as the backdrop for a well-received trilogy of plays she wrote in 2018 called “The Detroit Project,” depicting the city’s struggles. against racial tensions, labor issues, and gentrification through deeply personal and authentic stories showcasing community strength and hope. Her connection to Haitian culture in her life came primarily from her father and his family ties, although she notes that, growing up in a town without a strong Haitian community, her Haitian identity remained distant.

As “Bad Kreyòl” unfolds, it sheds light on several complex social issues embedded in Haitian life. Pita, GiGi’s longtime housekeeper, is a former Restaveka child domestic worker who has since become part of the family and is openly gay. Lovelie, a master embroidery artisan and former sex worker, is dealing with sexual harassment from a potential buyer of her pillows. Thomas, meanwhile, is the liaison working with an NGO, representing yet another perspective on the interaction of local and foreign interests in Haiti.

“It’s a story of liberation and the fight against exploitation,” said a Haitian woman at the end of a preview, speaking to Haitian weather. During the October previews, Signature hosted several community events comparable to the community themes of Morisseau’s plays, including a Haitian evening on November 7.

With a cast largely of Haitian descent, the characters bring to life the intricacies of navigating Haitian society. Located on Signature’s Irene Diamond Stage, the revolving set seamlessly transforms from a boutique to a bustling storefront to a crowded street to an artisan’s workshop, with each scene providing a visually striking backdrop that enriches the story that unfolds.

Creole is seamlessly integrated into the English dialogue throughout the play. Speaking about the play during an appearance on WNYC, Morisseau said she hears, especially from Haitians, that “they can’t believe they’re hearing or experiencing their language on a stage of 42nd Street in New York.

“This piece may resonate with other people with feet in two worlds,” said Judith Dolce, who works with Brooklyn College. Institute of Haitian Studies and reads and writes Creole. Dolce also mentioned her admiration for the way certain other themes were addressed in the play, including themes of identity and belonging, transnational families, connections and tensions.

“This piece may resonate with those who have feet in two worlds,” said Judith Dolce, who works at the Institute of Haitian Studies at Brooklyn College and reads and writes Kreyòl.

Throughout “Bad Kreyòl,” Morisseau explores themes of belonging and alienation, examining what it means to be “from” a place while considering and understanding it from an outsider’s perspective .

Unlike Simone’s character, Dolce was raised with a strong Haitian identity, but she recognizes the conflict Simone experiences in trying to reconcile her cultural background and establish connection.

“There’s a universal theme of culture clash between cousins,” observes Haitian-American Kasandra Kahill, who grew up in Tampa and went to see the play with….

“It could be like a Northerner visiting a Southern cousin in the United States.”

Many pressing questions unfold in Morisseau’s story, and the Signature Theater website offers a “Deeper dive into Bad Kreyòl”, listing NGOs that address some of the topics raised in the piece and the Kreyòl terms presented in the piece.

The theater will host an LGBTQIA+ community evening with a discussion after the show. A pre-show happy hour in the Signature Lobby will also precede the 7 p.m. performance. Next, a conversation titled “Belonging and Otherness: Living as a Global Citizen” will explore the complexities of belonging and otherness when navigating dual identities. Patrick L. Riley will moderate.