Two worlds, one heritage: Bad Kreyòl explores identity, legacy, and the Haitian American experience

Dominique Morisseau’s “Bad Kreyòl,” by the acclaimed playwright and 2018 MacArthur Genius Grant recipient, is on stage at Signature Theatre on 42nd Street through Dec. 1. The co-production with the Manhattan Theatre Club marks the final chapter of Morisseau’s Premiere Residency, which has featured a string of her works since 2018.

“Bad Kreyòl” originated from a trip Morisseau took to Haiti with her father, brother, and husband four years after the 2010 earthquake. Initially intending to write a “post-earthquake” play, she instead created a work rooted in the encounters and insights she experienced on the journey.

The play centers on Haitian American Simone as she reconnects with her cousin GiGi, a high-end boutique owner 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 sometimes help, but other times complicate Simone’s ability to navigate the 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” portraying the city’s struggles with racial tensions, labor issues, and gentrification through deeply personal and authentic stories highlighting community strength and hope. Her connection to Haitian culture in her life came primarily through her father and family ties, although she notes that, growing up in a city without a strong Haitian community, her Haitian identity remained distant. 

As “Bad Kreyòl” unfolds, it brings to light several complex social issues embedded in Haitian life. Pita, GiGi’s long-time housekeeper, is a former restavek, a child domestic worker who has since become part of the family and is openly gay. Lovelie, a master embroidery artisan and former sex worker, struggles 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 interplay of local and foreign interests in Haiti.

“This is a story about liberation and the fight against exploitation,” said a Haitian woman as she exited a preview showing, speaking with The Haitian Times. During October previews, Signature hosted several community events on par with the community themes of Morisseau’s plays, including a Haitian Night on Nov. 7. 

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

Creole is seamlessly embedded within the English dialogue throughout the play. While speaking about the play on a WNYC appearance, Morisseau commented that she hears, especially from Haitians, that “they cannot believe that they are hearing or experiencing their language on a stage on 42nd Street in New York City.”

“This play can resonate for others with feet in two worlds,” said Judith Dolce who works with Brooklyn College’s Haitian Studies Institute and reads and writes Creole. Dolce also mentioned her admiration of the way in which some other themes were touched on in the play, including themes of identity and belonging, transnational families, connections, and tensions. 

“This play can resonate for others with feet in two worlds,” said Judith Dolce, who works with Brooklyn College’s Haitian Studies Institute and reads and writes Kreyòl. 

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

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

“There’s a universal theme of cultural 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 in the U.S. visiting a Southern cousin.”

Many pressing issues unfold in Morisseau’s story, and the Signature Theatre website offers a “Bad Kreyòl Deeper Dive,” listing NGOs that address some of the topics raised in the play and Kreyòl terms featured in the play.

The theater will hold an LGBTQIA+ Community Night featuring a post-show talkback. A pre-show happy hour in the Signature Lobby will also precede the 7 p.m. performance. Afterward, 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.

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