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You cannot live outside of that.” To theatre audiences, might seem to be a racial incongruity. to Los Angeles, says that in a metro area like Denver where the population is only 10 percent African-American, it just makes practical sense to introduce audiences to Jacobs-Jenkins’ work with . I didn’t know how to answer her, so I just said, ‘I got into my car and drove here.

Jacobs-Jenkins has been hailed as one of the essential new African-American voices in the American theatre. Garrett recalls a recent evening attending a local theatre production accompanied by Denver Center CEO Janice Sinden, who is white. “So you can't just start all the way over there,” Garrett added.

The title of the play is very much a double entendre.

There is “appropriate,” as in, “suitable for a given occasion.” And there is the alternately pronounced take on the word meaning “borrowing (or stealing) from a particular person or culture.” “This play is definitely, intentionally both,” said Jude.

I think this is Branden’s way of saying, 'I am going to appropriate this form, and I am going to use it to have a deeper conversation with you about race.

What Branden's plays all suggest is that you can't have one without the other.

“He's very much saying, ‘This is the conversation I want to have.

You all have identified me as a black playwright, and anytime I write something, you say that it is racially charged. "Even as the lights start to go down, you are immediately made to feel slight discomfort that will grow throughout the play, regardless of who you are.

You have to clean your own closets before you can go somewhere else and start to address it.

“I hope when people walk out of this play, they really question what is happening in their own families.

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