Ngozi Anyanwu’s Good Grief — Review

“How does one deal with grief? When do we stop grieving?” Writer/Actress Ngozi Anyanwu poetically attempts to address the age-old question with her play, Good Grief, in its New York premiere at the Vineyard Theatre. We meet Nkechi, or “N” for those who cannot pronounce her name, a med school dropout who has returned to her childhood suburban home in Bucks County, Pennsylvania. The accidental death of her close friend, MJ, launches Nkechi into a deep state of grief that is sometimes misunderstood by those around her. This death causes her to re-examine her relationships with the important people in her life. This re-examination is portrayed through short, non-chronological vignettes revealing truths, half-truths, and all-out fallacies.

The core of the play centers around her complicated relationship with her neighbor/childhood friend/sometimes romantic interest MJ (Ian Quinlan). He’s a dreamer and we meet him doing such – “If I could be anything I would be a king! They live forever.” She’s more practical, at least that the facade she has to put on for her parents who expect her to be the good Nigerian girl, a title she never asked for. We meet her in the middle of a distressing moment in her life, she’s dropped out of med school and questions her life’s purpose – only to be hit with the news of MJ’s untimely death.

The rest of the play navigates Nkechi’s various stages of womanhood and grief in no chronological order. The plot is the play’s strongest asset. Our lead tells the audience a story and desperately tries to get it right. Some moments Nkechi chooses to remember, she tells the truth, others, she lets us know she’s revising for the better. True to life, when experiencing grief, we look back on the moments we had with those we mourn and mix them with memories we wish we’d had with them. It’s human for time and experience to change the way we remember events in our past, we feel regret and wish we could have a do-over.  Anyanwu’s portrayal of Nkechi is nothing short of poetic. Nkechi speaks in beautiful, prose-like speech whether she is addressing a character on stage or speaking to the audience, you listen.

While Nkechi is the focus of the play, the supporting cast does an amazing job of pushing the story forward and helping us relate to our lead a bit more. Her mother, NeNe (Patrice Johnson Chevannes), a psychiatric nurse who mixes both African proverbs and psychiatric practice to help her daughter with grief; her traditional Nigerian father, Papa (Oberon K.A. Adjepong), who loves her despite not understanding the depth of her pain; and there is comic relief in the form of her brother, Bro (Nnamdi Asomugha), a “wannabe ghetto philosopher” with a kind heart. These characters allow the audience to observe the many layers of Nkechi’s psyche, drawing out her vulnerability, insecurities, and sense of humor.

The show primarily takes place during nighttime, so the set and lights are minimal but impactful. The use of light is as dynamic as our lead characters’ thoughts and emotions. The lights often evoke a visual representation of “Eureka!”  The outline of the set is the shape of a home that shifts as the play changes locations. The nighttime setting adds an air of mystery, and who doesn’t enjoy a good mystery? Not sure if that was a conscious decision by the playwright or director, but it works.

Directed by Awoye Timpo, the play is easy to follow despite the non-chronological order (“the play takes place between 1992 and 2005, also the beginning of time and the future” the script reads) – it helps that both Anyanwu and Quinlan are excellent at embodying the mannerisms and characteristics of their childlike selves. While it is a tragic incident that starts our story, it’s much more than that. Good Grief is a universal story of love and loss that keeps audiences laughing and crying, a brilliant piece of writing that should have theater producers pounding at Anyanwu’s door if they know what’s good for them.