Teyonnah Paris stars in "Slave Play"

[CHICAGO]

SMH

NEGROS WILL DO ANYTHING FOR A DOLLAR.



​

 

[Benjamin Sisko]

I told nikkasbump that thread

 

[Benjamin Sisko]

there was a rumor she was engaged to some cac like 3-4 years ago but hid it well. there was only one pic online of them at that time but it wasn’t a couple type pic so people gave it a pass like it was a friend or actor. guess they broke it off but like people say the hair is a dead giveaway

IF shes willing to do this type of c00nery in public, just think about what she did in bed or behind closed doors with that cac. nikkas aint thinking about the levels to this

 

[Edub]

Wtf is this shyt

/thread

 

[GPBear]

"Latest Project A reading of “Daddy,” a play Mr. Harris wrote about “a May to December romance between a young black artist and an older European art collector,”"

So the playwright is a young black guy who I'm lead to believe fukks European art collectors, then writes sadistic slave porn masquerading as theater.

Alt-right's dream. I'm offended on multiple levels.

 

[FruitOfTheVale]

Hoooooly shyt this cant be life

 

[Critical Distance]

Wenchness confirmed.

 

[@OffHalsted]

@TeyonahParris Appreciation Thread

nikkas was cape'n & deleting comments

 

[Citi Trends]

I'm suprised I haven't seen any of the Coli wenches come out and say " but.. but.. BM do it too" yet.

Millions of dead BW who were raped as slaves must be rolling in their make shift graves right now.

There is only one way to deal with people who disrespect the ancestors like this..

You can’t ever find Coli ladies in these threads. They only come out for shyt like colorism

 

[YamakaSmacker]

I'm calling for the murder... I mean boycott of the playwrite

 

[Big Boss]

It's over

 

[Ake1725]

This shyt right here though

“Then there’s Alana (Annie McNamara), the tightly wound mistress of the house, whose massive antebellum couch-cake of a dress conceals a would-be dominatrix who wants nothing more than to sodomize Phillip (Sullivan Jones) — the tall, super-buff, violin-playing house slave — with a giant black dildo. And somewhere outside the windows of Alana’s bedchamber, there’s Gary (Ato Blankson-Wood), a slave who’s been granted authority over the white indentured servant Dustin (James Cusati-Moyer). Dustin — who has an ambiguous look about him, as if he might be Italian or perhaps Latinx — seems to resent being called “white,” and he and Gary soon end up in a violent tussle that morphs into an equally violent make-out session. When Dustin starts licking Gary’s “big black” boot, Gary comes. And then cries.”
These blavity ass nikkas mayne

Write plays about buck breaking brehs

 

[Sonic Boom of the South]

No, but I fully expected that to be a kneejerk response cuz too many of ya'll reduce your critical thinking to your dikk. This play still would have happened without her. A black woman still would have played that role regardless. And then what, would you still care? I see more brehs wound up over WHO is playing the role rather than WHAT the role is., who created it, the agenda THEY are pushing, the platform it could create for them to produce similar works, etc-- all of which is overlooked cuz she's pretty and a useful scapegoat for the inattentive and disengaged

Man shut yo tap dancing ass up

U making no sense and c00ning out your ass over a bed wench

"Bu bu

Some one was gonna c00n might as well be her right massa?" ass nikka


And u talking about others thinking with their dikk

U slack jaw jiggaboo

 

[HE_Pennypacker]

Someone PLEASE tell me what type of shyt this is?

 

[panopticon]

“Slave Play,” it turns out, is the blunter way of phrasing what Teá and Patricia are up to. They call it Antebellum Sexual Performance Therapy. They birthed it at Smith and raised it up at Yale, and it’s a radical role-play-based therapy intended to “help black partners reengage intimately with white partners from whom they no longer receive sexual pleasure.” It’s about “tackling your anhedonia at its source,” Teá assures Kaneisha, Phillip, and Gary, as all three couples reemerge onto the stage in the play’s second act, with the nervy closed faces of actors girding their loins for a particularly frustrating talk-back. The brilliant twist of Slave Play is that for all the graphic intimacy of the show’s first act, its performers are infinitely more exposed in the acts to come, when the real people that they’re playing must struggle to come to grips with the fantasies they’ve just enacted. The casual put-on racism, seemingly bizarre desires, and flights of violence that occurred during the couples’ role-play might have hurt, but attempting to look each other in the eyes after the performance — attempting to speak to each other and, more important and more difficult, to listen — is going to hurt much, much more.

What?