Ain't No Mo', SpeakEasy Stage Company and Front Porch Arts Collective, Roberts Studio Theatre,Calderwood Pavilion,Boston Center for the Arts, through February 9. bostontheatrescene,com or 617-933-8600.

At a time when a dictatorial president is targeting millions of Hispanic-Americans—undocumented and even native-born—for deportation, a 2022 dramedy by now 30 year old black playwright Jordan Cooper is taking off at the Calderwood Pavilion. Cooper's blistering satire—a Roberts Studio Theatre 100 minute non-stop flight—revs to timely resonance about racism and hate. The 2023 Tony-nominated "Ain't No Mo'"—in a riveting SpeakEasy Stage-Front Porch Arts Collective area premiere- provocatively imagines a U.S. government arrangement for all people of African descent to return to the mother continent.

The 'passengers' for the African American Airlines one-way travel in question are reporting to the tellingly named gate 1619 (the year when black slaves were brought by British colonists to Virginia). Drag gate attendant Peaches—actually played by Cooper in 2022 and here portrayed with an arresting combination of comic timing and poignancy by Grant Evan—introduces the audience to the mysterious Miss Bag. This metaphorical prop—Cooper submits—"carries all the legacy, history, joy and pain, the triumph and the perseverance of the Black race in America."

Via very different but vivid vignettes—here under Dawn M. Simmon's appropriately driving direction, Cooper insightfully examines the impressively heavy Black contribution to America that the Bag contains. One of the most exuberantly presented vignettes involves a church sermon—delivered with wonderful authority by De'Lon Grant—in which the preacher eulogizes the deceased known as Brother Right to Complain. The overly optimistic sermonizer invokes the play's ironic title in claiming that the election of Black President Obama means that there "ain't no mo' discrimination" and "no more waiting on FEMA" in Louisiana.

While Cooper peppers some of the following vignettes with comic exchanges, his timely play never loses sight of the formidable and often demeaning challenges continuing to confront Black Americans. A take-off on reality shows called "Real Baby Mamas of the South-Side" finds black women in eye-catching attire—kudos to designer Rachel Padula Shufelt—initially hyping for the camera at the request of an unseen director only to engage in bickering and wig-tossing. Here Kiera Prusmark sharply captures a self-serving white Rachel masquerading as a 'transracial' with the name Rachonda. Schanaya Barrows finds all of the bluntness with which Tracy exposes her. Dru Sky Berrian brings touching vulnerability to a pregnant woman suffering along with other unattended Black patients.

Especially revealing is an alternately amusing and disturbing vignette focused on an affluent Black family shaken up by the emergence of a basement stowaway known as Black. MaConnia Chesser has all of Black's fury and intensity as she powerfully reminds the smug family members that they must not deny the authenticity and true soulfulness she represents. Cooper also observes—via Grant Evan's strikingly complex Peaches that black people sometimes hate fellow blacks worse than whites do.

"Ain't No Mo" proves as much of a theatrically satisfying play as it is a vital cautionary voyage to combat stereotypes and racism. Cooper has insisted cogently that "there's still so much work to do." The SpeakEasy Stage-Front Porch Arts Collaborative flight at the Calderwood Pavilion is an important part of that work.