On Thursday, April 3, Staff Writer Mary Cook attended the original student production “Femme Noire, Nuit Blanche” (Black Woman, White Night) at the Glicker-Milstein Theatre.

Over the weekend, the Columbia University Black Theatre Ensemble presented the original production titled “Femme Noire, Nuit Blanche,” written and directed by Yahney-Marie Sangaré (CC ‘28). Sangaré is the extremely talented visionary behind this afro-surrealist play that follows Selah, a young Black paralegal played by Nadege Sainsurin (CC ‘27), who embarks on a surreal “petit odyssey” during a sleepless night in Brooklyn. 

As Sangaré asserted in her artist’s statement, this performance is not an escapist fantasy nor a historically precise retelling. Rather, it is a story that explores the strange, unpredictable moments when history intersects with the present, weaving together themes of decolonization, spiritualism, and self-recognition as a Black woman. 

Sainsurin’s portrayal of Selah—who is carefully named after a Hebrew word in the Old Testament, which some believe is meant to signify a moment of reflection—was moving and captivated the audience. Selah’s grief and regret over her involvement in a tense court case involving a former friend’s family were artfully conveyed through Sainsurin’s weary, melancholic presence. Her prolonged reflection on her difficult circumstances guided the story to her ultimate transformation, in which she finally gains some semblance of peace in the love surrounding her. The final scene of her hugging and laughing with her best friend and roommate Moné, played by Teniola Adedire (CC ‘28), showed the persisting power of love and connection. 

The emotion and circumstances of Selah were mirrored by Gaia Di Mitri’s (CC ‘27) powerful portrayal of Queen Njinga Mbandi. Queen Njinga reigned over the Kingdom of Ndongo in the 17th century (a pre-colonial African state in what is now Angola) and mysteriously entered into 21st-century Brooklyn during Selah’s restless night. Di Mitri’s commanding presence was felt as she infiltrated scenes of the modern day by freezing the characters, captivating the audience with her powerful monologues recounting Njinga’s painful loss of her son and the scars left by violence and colonization. As Njinga poignantly states early in the play, “The skin forgets, but the body remembers.” 

Melañia Horowitz (CC ‘26) and Ymanie Kenan (CC ‘26) were also fantastic in their roles as mother Lucille and daughter Lailah, long-time family friends of Selah and coincidentally the mother and sister of the boy involved in the trial that Selah works on. Their combined portrayal of allegiance to Christianity during times of distress was both nuanced and powerful, capturing the internal conflict of maintaining faith while navigating the complex emotions tied to familial loyalty and justice. Their chemistry on stage brought an added layer of depth to the narrative as they skillfully balanced compassion and tension, making their characters’ struggles both relatable and deeply emotional.

One of my favorite performances was Kayla Russell (CC ‘27) as Cécile, a hair salon worker with whom Selah finds unexpected companionship during her walk. Russell’s nuanced portrayal revealed the lasting emotional toll of immigration. Cécile’s struggles with identity, the abandonment of her passion for mathematics, and her fractured family relationships were deeply vulnerable. Russell skillfully balanced humor with intimate moments, shedding light on the complex realities faced by immigrants in capitalist America. 

The stage lighting, also designed by Sangaré, effectively highlighted key moments of reflection, using colors and shadows to evoke the surreal shifts in reality. Andrew Benjamin (CC ‘28), who portrayed both Njinga’s son and the boy involved in Selah’s court trial, added an extra layer of intensity through his drumming, which heightened the emotion and intensity of pivotal scenes and monologues. 

The costume design, done by Jordan Danielle Baptiste (BC ‘25) was another highlight.  The beautiful colorful skirt that Moné sews for Selah is a key moment at the beginning of the play and holds profound meaning as Selah wears it throughout her journey. Di Mitri’s costume as Njinga was also stunning, with shimmering beaded jewelry draped around her arms and a shining head scarf which contributed to her surreal and grand presence. 

In a complex production that combined elements of the historical past with prolonged moments of the present, the cast subtly alluded to how colonization, violence, and religion have shaped the lives of Black women, from Njinga’s 17th-century world to modern Brooklyn. The play not only highlighted their struggles but also the enduring love that connects friends, family, and strangers, a theme that resonates powerfully within the confines of one sleepless night.

Femme Noire, Nuit Blanche via Author