[Shay Youngblood’s play, Talking Bones] is exquisitely realized by director Jaye Austin Williams, who manages all the sleight-of-hand shifts of tone like a master conjuror.
I have long been inclined to look beneath the surface of black artists’ works in order to examine what persists as an incoherent or inchoate sensibility about the conditions that incapacitate the figures central to their imaginations. As a result, my dramaturgy as a director has been probing and critical.