Central Square Theater in Cambridge, Mass., is currently staging Mfoniso Udofia’s compelling play, “Her Portmanteau,” a co-production with Front Porch Arts Collective, directed by Tasia A. Jones. Teh play, running approximately 90 minutes without intermission, delves into the complexities of family, identity, and reconciliation within a Nigerian-American context.

A Daughter’s Question, A Mother’s Choice

The play centers around Iniabasi Ekpeyong, a young Nigerian woman who journeys to the United States to reunite with her mother, Abasiama Ufot, after three decades of separation. The emotional core of the play is instantly established when Iniabasi confronts her mother with a poignant question: Why let me go?

abasiama’s response reveals a arduous decision made years ago: I wanted to stay. To complete the things your father and I were supposed to complete. … I could not do that with you by my side.So I let you go. This sets the stage for a complex exploration of sacrifice, duty, and the enduring bonds of family.

The Ufot Family Cycle: A Broader Narrative

“Her Portmanteau” is not a standalone story; it is the fourth installment in Udofia’s enterprising nine-play “Ufot Family Cycle.” This cycle chronicles three generations of a Nigerian-American family, offering a rich tapestry of experiences and perspectives.Udofia, who grew up in a Nigerian-American community in Southbridge and attended Wellesley College, is witnessing her cycle presented in its entirety for the first time by a consortium of Greater Boston theater companies.

• The series commenced in November with the world premiere of “Sojourners” and “The Grove,” both produced by the Huntington Theater Company.
• The Huntington Theatre Company will release the third play,”runboyrun,” as a podcast in late April.
• The cycle is slated to conclude in the summer of 2026 with the ninth play, described as a folk opera.

Lost in Translation: A Reunion Gone Awry

The anticipated reunion between mother and daughter takes an unexpected turn.Iniabasi, played by Jade A. Guerra, finds herself at JFK Airport in new York, not in Boston as planned. Amidst the cacophony of the airport, she connects with her young son, Kufre, in Nigeria, speaking in both English and Ibibio to reassure him of her safe arrival.

Instead of her mother, Iniabasi is greeted by her half-sister, Adiaha Ufot, portrayed by Lorraine Victoria Kanyike. Adiaha, aware of her father’s complex feelings towards iniabasi, reroutes her sister’s ticket and offers her hospitality in her New York City apartment. This sets up a dynamic between the two sisters as they navigate their shared heritage and differing experiences.

Staging and Design: A Reflection of the story

The production’s staging, helmed by director Tasia A. Jones and her creative team, mirrors the play’s eloquence and economy. Scenic designer Shelley Barish and lighting designer Eduardo M. Ramirez transform the 180-seat theater into Adiaha’s apartment, creating a believable and intimate space. The set includes a well-furnished living area,complete with a cozy sofa and a kitchenette. Chloe Moore’s costume design features stylish casual attire, while sound effects by Arshan Gailus and Jo Williams effectively evoke the bustling atmosphere of an airport. Julia Wonkka’s prop design is especially noteworthy, featuring a vintage pay phone and a red suitcase adorned with photographs that symbolize a family fractured by war and ambition.

Seeking Truths and Reconciliation

Upon arriving at Adiaha’s apartment, Iniabasi’s sharp observation, Cockroaches woudl be scared to step inside this place, reveals her initial skepticism and underlying tension. Despite Adiaha’s attempts at hospitality, iniabasi embarks on a quest to uncover familial truths, scrutinizing portraits of Abasiama, Disciple, and her younger siblings, Toyoima and Ekong.

Adiaha, sensing Iniabasi’s unease, tries to diffuse the situation with nervous chatter and offers a peculiar form of stress relief, suggesting Iniabasi break a cheap IKEA vase. Instead, the sisters venture out for a walk, hinting at a potential path towards understanding and connection.

A Mother’s Regret, A Family’s Future

Patrice Jean-Baptiste portrays Abasiama, initially conveying the character’s anxiety with a touch of exaggeration. However, as Abasiama asserts her determination to reunite her family, her performance gains authenticity and power. Arriving late after a frantic drive from Worcester to JFK in a rented car, Abasiama is overcome with regret.

Left alone in the apartment, Abasiama discovers Iniabasi’s worn red suitcase, recognizing it as the one she carried from Nigeria. Driven by a similar hunger for truth as her daughter, she opens the suitcase and finds photographs of family members, including her grandson, Kufre. Speaking with her daughters about the importance of their ibibio names – Abasiama (God’s love),Adiaha (first daughter),Iniabasi (God’s time),Kufre (never forget) – she embraces her role as the matriarch who will bring her family together,declaring to Iniabasi,No more waiting.