Can a legendary one-woman show actually survive without the specific woman who built it? When Whoopi Goldberg exploded onto Broadway in 1984, she didn't just perform. She essentially rewrote what a solo act could do by shifting effortlessly between distinct, heartbreaking, and hilarious characters. Now, the Off-Broadway revival at Lincoln Center’s Mitzi E. Newhouse Theater takes that exact foundation and blows it wide open. Instead of seeking out a singular shape-shifting performer, director Whitney White has split the burden—and the glory—among five distinct powerhouse Black actresses.
It is an audacious move that changes the core physics of the material. Honestly, it mostly works, even if the new format occasionally stretches the pacing thin.
By handing the reins to Kerry Washington, Kara Young, Danielle Pinnock, Dominique Fishback, and Kecia Lewis, this production changes the dynamic from a display of technical mimicry to a communal celebration of storytelling. You are no longer watching an actor show off her range. You are watching a sisterhood breathe new life into classic texts that are now four decades old.
Splitting the Crown Among Five Actresses
The original 1984 production succeeded because Goldberg was a singular force who could anchor a bare stage through sheer presence alone. In this 2026 iteration, the focus shifts to how five individual performers can make these characters pop on their own terms.
Kara Young anchors the opening as Fontaine, the heavy-hitting junkie whose international flight to Amsterdam provides some of the biggest laughs of the night. Young physically throws herself into the comedy, using a single chair to evoke the cramped miseries of modern aviation and the sheer absurdity of airline food. Yet, she pivots sharply into tragedy during a visit to the Anne Frank House, grounding the performance with raw emotion.
Dominique Fishback tackles the delicate assignment of Blonde Girl, portraying a seven-year-old child who wraps a white shirt around her head to pretend she has long blonde hair. Fishback captures that youthful innocence perfectly without veering into cheap caricature. The character highlights the painful ways systemic racial bias distorts self-image from early childhood.
- Danielle Pinnock plays the Jamaican souvenir vendor with massive comedic energy, riffing directly with theatergoers and tossing out modern basketball references that land beautifully with the New York audience.
- Kerry Washington steps into the platform shoes of the Surfer Girl, relying on a thick 1980s Valley Girl accent that initially seems dated but quickly gives way to a dark, visceral narrative involving self-abortion.
- Kecia Lewis closes the loop as Lurleen, a menopausal woman dealing with aging, changing sexual landscapes, and hot flashes, which she battles by waving a massive red fan.
Staging an Ensemble vs Keeping it Simple
Director Whitney White doesn't let these women sit in isolation. The bare stage, backed by a wall of five dressing room doors designed by Studio Bent, serves as a sandbox where the actresses actively support one another. They drift into each other's vignettes, high-five the front row, and at one point, all join in to dance to "The Hustle".
This looser, collective approach brings a distinct warmth to the theater. The audience gets to see these performers actively locked into the show, feeding off the crowd's energy.
But there's a trade-off. Goldberg’s original vision thrived on absolute minimalism—she just stood there and let the text do the heavy lifting. When you add choreography, group numbers, and extra movement, the individual sketches can sometimes feel padded. The transition moments add energy, but they also draw out the runtime of sketches that already tend to ramble in their original form.
The Challenge of 1980s Material in 2026
The production leaves the text mostly untouched, which exposes both the timeless brilliance of Goldberg’s writing and the inevitable crust of passing decades. Hearing characters casually reference The Love Boat or mid-2000s artifacts like Dick Cheney can pull you right out of the moment. The political and social critiques remain incredibly sharp, but the cultural anchors feel like museum pieces.
One notable change is the total omission of the "Handicapped Lady" character, which previously closed out both the original run and the 2004 Broadway revival. Cutting this bit was a smart, necessary choice for a modern production. Having able-bodied actors take on that specific role in 2026 would have distracted heavily from the play’s core message of empathy.
Even with the dated references, the material proves that our societal struggles haven't evolved nearly as much as we think. The anxiety surrounding reproductive rights, the erasure of aging women, and the psychological impact of racism are just as potent now as they were forty years ago.
How to Plan Your Visit to Lincoln Center
If you want to catch this specific staging before it closes at the end of August, you need to navigate a few logistical realities. The Mitzi E. Newhouse Theater is an incredibly intimate space. The steep stadium seating ensures that even the very back row feels close to the stage, making it an ideal venue for dialogue-heavy work.
If you want to see the specific ensemble dynamic featured on opening night, watch the calendar closely. Kerry Washington’s final scheduled performance is Sunday, August 2, after which understudies and alternate cast members take over the Surfer Girl role for the remainder of the run.
Make sure to arrive early if you plan to park at the Lincoln Center Garage, which can be accessed from either West 62nd or West 65th Street. The area gets heavily congested before curtain time. The show runs for a crisp 1 hour and 40 minutes with no intermission, so take care of any concessions or restroom visits before you head down the aisle.
Track down a recording of the original 1984 HBO special before heading to the theater. Seeing how Goldberg handled the transitions alone makes you appreciate the specific creative risks White and her ensemble take to keep this material alive today.
