At the end
The play unfolds as an anecdotal epic that is propelled by a mundane theme; it evokes a banal portrayal of a single mother named Shennea – a 40 year-old African American with an illicit appetite, and her attempt to satisfy it through radical means, who auctions herself to stabilize her mounting debt to Big Roc, a disreputable vagabond who forged tyrannical possession of Big Town city and rendered its cross-section as headquarters to his drug enterprise. She even sells her thirteen year-old son’s belongings to generate drug money, including his used Xbox.
By mid-play, and the introduction of other characters leading substantive roles, especially Mark, Shennea’s son, whose role at this juncture extends far beyond his attending school and playing video games, the play proves but anecdotal; it becomes a theatrical collage of social inequity plaguing a segment of society, and the outside force needed to reverse such inequity that has long gone uncontested.
The play masterfully culminates in a dramatic delivery of a pledge to address a vexing problem of single motherhood and addiction, children prematurely forced to assume adulthood, and the dire need for communal intervention to restore hope for self-reliance and dignity to long-forgotten members of society.