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In this list: Lolo Zouaï, Jean Deaux | Ligia Lewis: Sorrow Swag | Nina Simone: Four Women
Lolo Zouaï, Jean Deaux
I’m a little shocked there hasn’t been more hubbub around French Algerian American singer Lolo Zouaï. Her latest release, High Highs to Low Lows, contains everything that’s hot in popular music right now, including but not limited to lite hiphop/trap beats, bilingualism, Ariana Grande–style “rapping.” It’s boppable, perfect for the turn up and the turn down. Be sure to bang “Caffeine” before you head out—it’s equal parts bratty, poppy, and sugary sweet. Warm-up from trippy multidisciplinary Chicago rapper Jean Deaux. JASMYNE KEIMIG
Neumos
FRIDAY, MAY 17
Ligia Lewis: Sorrow Swag
If your spring has been light on slightly academic explorations of sadness, sex, and rage, then On the Boards has your back with its season closer, the unfinished BLUE, RED, WHITE triptych by Ligia Lewis. Sorrow Swag examines “race, authorship, gender, and grief” through the figure of a white, male boxer in a blue room. His lines are a mishmash of playwright Jean Anouilh’s Antigone (Sophocles’s great defense of civil disobedience) and Samuel Beckett’s Not I (a freaky-ass, manic monologue delivered in almost total darkness by an actor whose entire body has been painted black, except for the mouth). The show should bust up any lingering notion you have about the stability of identity. Recommended pairing: minor matter, the second show in Lewis’s tryptic. For this one, Lewis drops two dancers in a pool of red lights and lets them duke out their “urges of love and rage.” RICH SMITH
On the Boards
SATURDAY, MAY 18
SUNDAY, MAY 19
Nina Simone: Four Women
The play opens with a character based on Nina Simone, Peaches, playing “I Loves You, Porgy,” the signature tune of the jazz singer/pianist’s pre-protest-song era. The performance, however, is disrupted by the cries of the four girls killed in the 1963 Birmingham, Alabama, church bombing. In the second act, Nina meets another black woman, Sarah, in the ruins of the church. It soon becomes clear that Sarah, a committed member of the church, is opposed to Nina’s radicalization. “I ain’t into that radical business,” Sarah says. The question at the core of the play becomes clear: Do we rebuild the church or destroy the current racist society? For Peaches/Simone, the answer is clear: Because there is nothing good about American society, it must be exploded and completely rebuilt from scratch. The ruins of the Alabama church should become the ruins of racism in America. CHARLES MUDEDE
Seattle Repertory Theatre
THURSDAY, MAY 16
FRIDAY, MAY 17
SATURDAY, MAY 18 (2 p.m.)
SATURDAY, MAY 18 (7:30 p.m.)
SUNDAY, MAY 19 (2 p.m.)
SUNDAY, MAY 19 (7:30 p.m.)
TUESDAY, MAY 21
WEDNESDAY, MAY 22
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