Review: Jeremy O. Harris’s “Daddy” is a Masterpiece of Melodrama

Late last year New York Theatre Workshop premiered Jeremy O. Harris’s Slave Play and now in a miraculous feat for a newcomer, he has a second play this season, “Daddy” produced by The New Group and Vineyard Theatre. Harris’s work is gripping, modern, and powerfully political. Here, as in Slave Play, he deals with themes of race and sexuality in a hauntingly trenchant manner.

“Daddy”: A Melodrama explores the relationship between Franklin (Ronald Peet), a young gay black artist, and Andre (Alan Cumming), an older, white, wealthy art collector. Their relationship is not about labels, but for all intents and purposes, Andre is Franklin’s sugar daddy — emphasis on the daddy part. Early in their relationship, they both expresses some kinky desires, and within the first scene Franklin is calling Andre “daddy.” They both seem rather into it. Franklin moves in to Andre’s Bel Air estate and sets up an art studio to prepare for his upcoming show.

Franklin’s friends, Max (Tommy Dorfman) and Bellamy (Kahyun Kim), have conflicted feelings: Max is judgmental but jealous, Bellamy, a sugar baby herself, is supportive. His gallerist, Alessia (Hari Nef) raises her eyebrows but loves how the newfound financial security is helping his work. It is the arrival and opinions of Franklin’s mother (Chalayne Woodard) that really creates…