In Branden Jacobs-Jenkins’s new play “The Comeuppance,” friends gathering for their 20-year high-school reunion are each inhabited by the Reaper himself.
“The Comeuppance,” Branden Jacobs-Jenkins’s unsettlingly up-to-the-moment new play , begins with the shadow-swathed figure of a young man on an unremarkable porch. An American flag hangs in a perfunctory way from the side of the house, picking up no air. In the course of the play, the flag comes to seem less like a patriotic statement than like a gesture meant to ward off neighborly suspicion, aimed at fitting in without a fuss.
The guy whose body was briefly inhabited by Death at the beginning of the play is Emilio . He’s an artist of growing renown, “based” in Berlin but visiting his home town in the D.C.-adjacent precincts of Maryland—not only for the reunion but also to participate in an unspecified biennial in New York. It’s tempting to deduce that we’re talking about the famous one, at the Whitney, and that Emilio’s “sound art” will appear in the follow-up to the so-called “Tear-Gas Biennial” of 2019.
Caitlin has married a much older man, a police officer who is getting sucked into the churn of right-wing conspiracy theories. Kristina is a doctor with “so many . . . fucking kids”; in the course of the lockdowns, she started to rely too much on booze to calm her anxieties. She brings along her cousin Paco , who once dated Caitlin—and, we gather, treated her quite poorly.: Multi Ethnic Reject Group.
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