‘BLKS’ Review: Relatable, Energetic, Vibrant, and Uplifting

This semester of Harvard student-run theater featured many invigorating stories well-removed from Harvard students’ lives — supernatural potions in Victorian London, political drama in the early 20th century White House, and murder in Medieval Denmark — but BlackCAST offered a play set in the 2010s with everyday mishaps, relatable characters, and contemporary humor reminiscent of a Netflix sitcom. While unfamiliar worlds are thrilling and allow audiences an imaginative escape, BlackCAST’s true-to-life, present-day story was fun, fresh, and cathartic.

Directed by Kayla S. Bey ’25, BlackCAST’s production of “BLKS” by Aziza Barnes ran from Dec. 7 through Dec. 10 at the Agassiz Theater. The comedic play followed three twenty-somethings over the course of 24 hours, navigating queerness, Blackness, and womanhood in New York City. It involved poignant subject matter but provided an overall uplifting experience, which is an impressive feat in contemporary theater. Despite a few obstacles, “BLKS” thrived from its overall brightness. With warmth, spirit, and color, BlackCAST offered an unforgettable play.

Bey’s terrific vision was evident throughout “BLKS.” The characters were realistically flawed but pleasingly delightful; the visual design was commonplace but captivating; and demanding scenes were embraced in all their complexity. These elements worked together toward one common goal: Reflect and reclaim the true, honest experiences of today’s queer, Black women. The play’s purpose was clear, and its constant motion and dynamism delivered an entertaining show.

The entire cast of “BLKS” brought lively energy to the stage, and their sustained vivacity allowed the show to accomplish its aims of displaying struggle while elevating Black, queer womanhood and offering an enjoyable experience that never dropped audiences’ attention. In lead roles, Jacqueline E. Metzger ’27 (Octavia), Dara O. Omoloja ’26 (Imani), and Keely R. O’Gorman ’26 (June) built exceptional chemistry. They delivered great individual performances, but they truly shone as a trio. Metzger, Omoloja, and O’Gorman portrayed a compelling group of friends: engaging, convincing, lovable, and representative of genuine friendship among Black women. Their performances worked in harmony; they benefited from one another’s presence, which lent itself to the community-based nature of the play.

Appealing costume design by Bettie L. Closs ’25 and tasteful scenic design by Gabriel Brock ’26 contributed substantially to the success of “BLKS.” The stage remained reminiscent of a common apartment: The actors wore basic ensembles assembled by average people in average clothes, and the set featured plastic CVS bags, a mattress on the floor, and an unremarkable couch. These choices supported the show’s authenticity, reminding the audience that “BLKS” presents the real lives of real women. Still, Closs and Brock demonstrated excellent skill and attention to detail. Each costume was specific to each character’s personality and enriched the stage with vivid hues to match the vivid performances, and the stunning backdrop illustrating a night in Brooklyn ensured that the scenic design, while realistic, was gorgeous and alluring. These elements were fitting: Queer, Black women’s lives are full of trials and tribulations, but ultimately beautiful.

Notably, “BLKS” suffered from struggles with sound design, a few messy blunders in scenes, and occasionally unsuccessful line delivery, thwarted by overambitious speed and excessive emphasis on profane language. However, the play’s imperfections contributed to its realness and honesty. “BLKS” was not a flawless production; it was an authentic production, allowing space for life’s imperfections. Despite the play’s minor issues, Bey and the cast dealt with greater potential challenges masterfully. For example, they handled intimacy choreography, including sexual violence, with exceptional tact. The staged intimacy did not detract from the show, as was highly possible — instead, it enhanced it.

On the whole, “BLKS” was wonderful; its setbacks did not detract from its success. While dealing with heavy topics, the play’s energy and vibrancy created a fun show. Achieving its goal to mirror Black queer women of the present day, “BLKS” told a relatable story full of humor and heart. The play was not only a representation of queer Black womanhood but a celebration of queer Black womanhood, and one that entertained, enchanted, and enlivened audiences.

—Staff writer Vivienne N. Germain can be reached at vivienne.germain@thecrimson.com.