One of the most common (and perhaps overused) playwrighting tropes I’ve often seen on stage is a meta play about a writer figuring out what the play is all about. This trope becomes explored once again with the world premiere of Rickérby Hinds‘ The Last Play by Rickérby Hinds at the Latino Theater Company, where Hinds presents the possibility of this play being his last play where he brings back characters from his previous works to guide him through his writer’s block.

Though energetically directed by Daphnie Sicre and brought to life by a dynamic ensemble cast, the play cannot shake off its cynical core that there is a good reason why this playwrighting trope should be laid to rest.

The Last Play by Rickérby Hinds takes a meta-theatrical turn, bringing an Afro-Latino playwright face-to-face with characters from his past works as he struggles to write what he believes will be his final play. In a journey of chaos, comedy and self-discovery, he questions identity and the true meaning of success. Written by celebrated playwright and pioneer of Hip-Hop theater Rickérby Hinds and directed by Daphnie Sicre, a champion and specialist in Afro-Latiné theater.

It’s not uncommon for playwrights to write themselves into the play but this may be a first where the title of the play includes the playwright’s name. Before this play, I’ve never heard of Rickérby Hinds and there’s a possibility that many audience members haven’t as well. With this play bringing literal samples of his previous works, we see a trajectory of his playwrighting career and his talent infusing hip-hop and his AfroLatino identity into them. It’s a fascinating outlook and ironically makes the compelling argument that I would much rather see those plays rather than a meta one. The Last Play by Rickérby Hinds does however launch with a spot-on poignant commentary of the usefulness of land acknowledgments that really doesn’t have any value but make white people feel self-imposed guilt for their role in the genocide of the Indigenous people.

There is one thing that’s most evident and that is that the director Daphnie Sicre, choreographer Marissa Herrera, and the ensemble cast made up of Rogelio Douglas III, Jasmine Gatewood, Khalif J. Gillett, Lee Harris, Darius M. Johnson, Celia Mandela Rivera and Breayre Tender create one hell of a party on stage. There is incredible talent and infectious energy that courses through them as it easily catches on with the audience in a fantastic type of communal theatre experience that Hinds encourages and creates. Each and every one of the actors brings their A-game so if you’re here for a good time, you will most certainly have it with this play.

As much of a good time I was having though, I could not shake off the feeling that at its core, the playwright is bitter about his success as a playwright and how it could have been something more. This may be the actual point as Hinds does not leave any stone unturned in his unfiltered critiques of himself and all the issues I had in my mind were directly addressed throughout the play. As one of the characters yell out what the point of this “mess of a play” was, I can see Hinds anticipating the critics in the audience at every step of the way. But for a meta play, my biggest issue with it is that it does not commit all the way through with an actual complete story. It also doesn’t help that as utterly charming Khalif J. Gillett is as the playwright, another large disconnect is how young the actor is compared to the undeniable fact that the playwright is commenting on his 30+ year career.

There are no connecting elements with all of the scenes as each one of them stop and go as if it was more of a one-act play festival with the actors working their hardest to restart their engines every time. One scene clumsily goes into the next with crowd pleasing songs to entertain the audience in-between, the most blatant being the scene where Hinds writes in the Latino connecting element with a well known song that was without a doubt the “here’s the Latino proof to justify this play performing at Latino Theater Company” part. While it’s evident that the play is about the playwright figuring out the play, there is no emotional pay-off and no connecting throughlines.

If this is indeed Hinds’ last play, I hope this one isn’t it. Hinds has created such an amazing legacy that I encourage the playwright to go out once more and write a genuine play instead of a meta one which was basically a greatest hits compilation of his previous works without much effort put in to craft a story weaving it altogether. But with all my issues against the script aside, I greatly commend the director and ensemble cast for navigating through such a challenging and cynical territory.

As critical as I am with the playwright’s work here, there is true joy to be had in AfroLatino artists being recognized and celebrated and for that, I am grateful. If this is what Daphnie Sicre can do with such a challenging script like this, then I daresay she is a director to keep an eye out for in terms of all her future works to come with more fully realized scripts. The same applies to the entire ensemble cast as I will be eager to follow their acting journey after seeing them here.

The Last Play by Rickérby Hinds
• Written by Rickérby Hinds
• Directed by Daphnie Sicre
• Starring Rogelio Douglas III, Jasmine Gatewood, Khalif J. Gillett, Lee Harris, Darius M. Johnson, Celia Mandela Rivera and Breayre Tender
• Produced by The Latino Theater Company

WHEN:
• Previews: April 24 and April 25
• Performances: April 26 – May 25
Thursdays, Fridays and Saturdays at 8 p.m.; Sundays at 4 p.m.

WHERE:
The Los Angeles Theatre Center
514 S. Spring Street
Los Angeles CA 90013

PARKING:
• $8 with box office validation at Los Angeles Garage Associate Parking structure, 545 S. Main St., Los Angeles, CA 90013 (between 5th and 6th Streets, just behind the theater)
• Metered parking available on streets surrounding the theater.
• Take the Metro: nearest stop is Pershing Square (two blocks west of The LATC)

TICKET PRICES:
$10-$48 (except opening night)
• Fridays, Saturdays and Sundays (except opening night, April 26): $48
• Students, Seniors, Veterans and LAUSD teachers: $24 with valid ID
• All Thursday night performances and previews: $10
• Opening night (April 26): $75 (includes post-performance reception)

HOW:
latinotheaterco.org
(213) 489-0994