In Old Age had its world premiere at Magic Theatre under the leadership of Loretta Greco in 2019. Later that same year, it was performed in tandem with runboyrun at New York Theatre Workshop under the artistic direction of Jim Nicola. At that time, I had not yet written the totality of the Ufot Cycle plays. Kufre n’ Quay, The Ceremony, and Lifted were still just thoughts in the air. Around that same time, Adia and Clora Snatch Joy was only beginning to morph from a straight play into a folk opera.

Suffice it to say, I did not yet know the full shape of Abasiama’s arc, though I had already written In Old Age, and it had been performed to some success.

Then I came to Boston. I finished major components of the cycle, and I watched how Abasiama blossomed as a character. I watched how she demanded growth, even when she was not the focus, even when she was not the primary protagonist of the play. And suddenly, the dark, haunting version of In Old Age that I had written in 2019 was no longer the play she deserved.

After seven plays of striving, she needed a play that anchored her toward fulfillment.

So I gutted a play that was mostly working, a play that had real legs, to go back to “page one” and see if I could give Abasiama a deserving ending.

So welcome to this play, the newest old play in the cycle.

This kind of rewrite could not have happened without staging all the plays in the cycle, in order, here in Boston. It would not have happened if The Front Porch, ArtsEmerson, and The Huntington had not come together to help buy me time to write and rewrite, and trusted me enough to overhaul a play that was working into something that may not be as battle-tested as the old version, but might have more potential.

I will take this experience and keep refining and growing this version, because this is a first production of sorts. There is still ever more to learn as the play continues to be produced.

Somehow, I landed at a crossroads similar to the one Abasiama faces in this play. I was at the center of choosing. I had to choose my desire and ask people to help me make it happen. Perhaps this is a reminder to us all that at the center of every drama, every life, every creation, is the action of playing.

And as a writer, that is what I had to do.

So now, please watch and see how Abasiama chooses to play her way forward.

– Mfoniso Udofia, Playwright

PRESENTS
PRODUCTION OF

IN OLD AGE

PLAY 8 OF THE UFOT FAMILY CYCLE

CAST

Ebony Marshall-Oliver* as Abasiama Bassey

Marvin Bell* as Azell Abernathy

Dereks Thomas* as Azell Abernathy Understudy

Jackie Davis* as Abasiama Bassey Understudy

CREATIVE TEAM

Director: Dawn M. Simmons°

Playwright: Mfoniso Udofia

Mfoniso’s Assistant: Diane Lobontiu

Production Stage Manager: Phyllis Smith*

Assistant Stage Manager: Athéna-Genesis Baptiste

Sub Assistant Stage Manager: Leanna Niesen

Scenic Designer: Jeffrey Peterson**

Lighting Designer: Eduardo Ramirez

Sound Designer: Arshan Gailus**

Costume Designer: Chloe Moore

Props Designer: Elektra Newman

Production Manager: Mikey McCarthy

Production Manager: Krystin Matsumoto

Technical Director (ArtsEmerson): Michael Murphy

Language Consultant: Emmanuel Sylvester

Dialect Coach: Bridgett Jackson

FRONT PORCH STAFF

Producing Artistic Director: Maurice Emmanuel Parent

Associate Artistic Director: Pascale Florestal

Marketing Manager: Kandyce Whittingham

Casting and Operations Apprentice: Kayla Sessoms

Development Consultant: Maggie Abdow

Development Coordinator: Shari Caplan

Marketing and Community Engagement Associate: Elijah Albert-Stein

Special thanks to

The Ufot Cycle’s Ground Floor Collaborators

A group who have and continue to provide creative support to Mfoniso Udofia:

Ebbe Bassey, Native Speaking Coach & Ibibio Translator 

Dawn-Elin Fraser, Vocal/Dialect Coach 

Loretta Greco, Producer 

Katherine Kovner, Cycle Dramaturgy

Awoye Timpo, Director

Magic Theatre 

New Dramatists, under the Artistic Direction of Emily Morse

NYTW, under the Artistic Direction of Jim Nicola

The Playwrights Realm 

Special thanks to these individuals who have provided support to
Boston’s Ufot Family Cycle as part of the Core Design & Creative Team:

Jason Ardizzone-West, Scenery

Sarita Fellows, Costumes 

Dawn-Elin Fraser, Vocal/Dialect Coach 

Rob Milburn and Michael Bodeen (Milbo), Sound and Original Music

Kligerman Productions, Videography 

In Old Age is produced by special arrangement with THE GERSH AGENCY, 9465 WILSHIRE BLVD., 6th FLOOR, BEVERLY HILLS, CA 90212. In Old Age was workshopped at JAW: A Playwrights Festival produced by Portland Center Stage.

In Old Age received development support at New Dramatists through the Bucket List Initiative, a program supported by a grant from VENTUROUS THEATRE FUND OF TIDES FOUNDATION.

In Old Age had its Off-Broadway premiere at New York Theatre Workshop, Jim Nicola, Artistic Director, Jeremy Blocker, Managing Director in 2019.

In Old Age was developed and given its world premiere at Magic Theatre, San Francisco, CA. Opening night was April 3, 2019. Loretta Greco, Artistic Director, Jaimie Mayer, Managing Director.

*Denotes a member of Actors Equity Association (AEA)

°Denotes a member of Stage Directors and Choreographers Society

** Represented by United Scenic Artists, Local USA 829 of the IATSE

Jeffrey Petersen (Scenic Design) he/him. Jeffrey is thrilled to make his Front Porch Arts Collective debut.  A Minnesota transplant with a fading accent, Jeffrey has worked throughout New England for professional institutions including: Commonwealth Shakespeare Co., Huntington Theatre, SpeakEasy Stage, Boston Playwrights’ Theatre, New Repertory Theatre, Odyssey Opera, White Snake Projects, Boston Midsummer Opera, Opera Hub, Greater Boston Stage, Gloucester Stage, Hanover Theatre, and more. He holds an MFA in Scenic Design from BU’s School of Theatre and is a proud member of the United Scenic Artists local 829. www.jeffreypetersendesigns.com

Dereks Thomas* (AEA / SAG-AFTRA) he/him/his Off-Broadway: Ghost Stories: The Shawl & Prairie Du Chien, Atlantic Theater Company. Regional: Blues for an Alabama Sky, Someone Will Remember Us, Becky Nurse of Salem, August Wilson’s Fences, Gem of the Ocean, and Radio Golf, La Cage aux Folles, A Christmas Carol (2022), Trinity Rep; Passing Strange, Studio Theatre; The Lily’s Revenge, The Light Princess, The Donkey Show, American Repertory Theater (A.R.T.); Gem of the Ocean, Seven Guitars, Actors’ Shakespeare Project; Paradise Blue, Gloucester Stage. International: The Imaginary Invalid, Moscow Art Theatre. Television: “Cupertino” (CBS); “Prodigal Son” (FOX). Film: Coaled Blood. Education: MFA, Moscow Art Theatre (A.R.T. Institute for Advanced Theater Training at Harvard University). BS, The Citadel. www.dereksthomas.com

Mfoniso Udofia, a first-generation Nigerian-American storyteller and educator, attended Wellesley College and obtained her MFA from the American Conservatory Theater [A.C.T.]. While at A.C.T., she co-pioneered, THE NIA PROJECT which provided artistic outlets for San Francisco youth. 

From 2024-2026, a consortium of theatre companies and activation partners across Boston are producing all of Mfoniso’s 9-play UFOT FAMILY CYCLE, which follows three generations of a Nigerian-American family. Upcoming productions include IN OLD AGE (Front Porch Arts/ArtsEmerson), and ADIA AND CLORA SNATCH JOY (Huntington Theatre). Productions of her plays LIFTED, SOJOURNERS, THE GROVE, RUNBOYRUN, HER PORTMANTEAU, KUFRE N’ QUAY, AND THE CEREMONY (all part of the Ufot Cycle) have been produced at Wellesley Repertory Theatre, Chuang Stage, Boston Arts Academy, the Huntington Theatre, Central Square Theatre, Round House Theatre, New York Theatre Workshop, Playwrights Realm, Magic Theater, National Black Theatre, Strand Theater, and Boston Court. She’s the recipient of the 2025 Elliot Norton Award for Outstanding New Script (The Grove), the 2024 Steinberg Playwright Award, the 2021 Horton Foote Award, the 2017 Helen Merrill Playwright Award, the 2017-18 McKnight National Residency and Commission and is a member of New Dramatists.

Mfoniso’s currently commissioned by the Huntington Theatre, the Round House Theatre, Hartford Stage, Denver Center, ACT, and South Coast Repertory. Her plays have been developed by Manhattan Theatre Club, A.C.T, McCarter Theatre, OSF, New Dramatists, Berkeley Rep’s Ground Floor, Hedgebrook, Sundance, Space on Ryder Farm and more. 

Since 2018 Mfoniso has been working extensively in television; she has written on such acclaimed shows as Things Fall Apart on A24,  13 Reasons Why on Netflix, A League of Their Own on Amazon, Let the Right One In on Showtime, and Pachinko (Peabody Award), Little America, and Lessons in Chemistry (Emmy and WGA Nomination) all on Apple TV+.  She has also developed films for HBO, Legendary, and Amazon. More at www.mfonisoudofia.com.

Marvin Bell – It was 1982 when Marvin Bell recognized his innate ability to bring smiles to the faces of family, friends, and strangers. He spent the next three years being mentored by veteran performers, the comedy duo of  Zack & Mack (marvinbell.com/tribute). Marvin also appeared in a half dozen community theater productions.

 In 1985, Marvin left his job at the post office and became a full time, professional comedian which he continued for thirty-five years.

In 2010, Marvin recalled the joy that came with his community theater experience and made the decision to once again pursue acting. This decision led to numerous stage productions including two performances in the stage adaptation of GUESS WHOSE COMING TO DINNER, five portrayals of the iconic chauffeur in the Pulitzer Prize winning play, DRIVING MISS DAISY, bookings in five August Wilson penned productions, FENCES, THE PIANO LESSON, TWO TRAINS RUNNING, RADIO GOLF,  and an upcoming appearance in JITNEY at Passage Theater.

Most recently, an LMCC Grant allowed Marvin to produce and direct his own self-penned sketch dramedy, “INNER VISIONS: One Man’s Show”.

Marvin acquired a copy of August Wilson’s one man show, HOW I LEARNED WHAT I LEARNED early in the lock down of the Covid pandemic and was captured by the first two lines of the text. His compulsion to perform the text came when he found the Wilson quote, “Have a belief in yourself greater than anyone’s disbelief”, a quote that has guided his professional conduct since he first encountered it.

Jackie Davis  is an actor, director and choreographer and intimacy director/advocate. She has worked in theater, film and television primarily on the east coast. She has recently finished a run at Portland Center Stage as Tedra  in their production of Fat Ham . Notable theatre directing credits include The Motherf*ker with the Hat, Red Velvet, and Ruined. Notable Intimacy Direction include The Inheritance, and References to Salvador Dali Make Me Hot.  Notable choreography projects include The Wiz and Caroline or Change. Jackie is a member of the Resident Acting Company of Trinity Repertory Company and was last seen on stage as Robyn in The Roommate. Other notable roles include Rose in Fences and Margaret in The Inheritance.

Jackie is on staff in Trinity’s Education Department as a Teaching Artist/Master Instructor for  TRC’s Young Actors Summer Institute (YASI) and part of the Movement Faculty for the Brown/Trinity MFA Program.  Jackie is the founding artistic director of  New Urban Theater Laboratory, (https://nutl.wordpress.com) where she produced and directed five seasons of new works in Massachusetts. https://www.instagram.com/itsjackiedavis/

Ebony Marshall-Oliver* was last seen in Boston as Tedra in The Front Porch/Huntington Theatre/ Alliance Theatre production of Fat Ham where she was nominated for an Elliot Norton Award for featured performer in a play. Broadway: Ain’t No Mo, Chicken & Biscuits; Off Broadway: Festival In Da Back, Chiaroscuro (National Black Theatre), Bodies They Ritual (Clubbed Thumb), 7 Minutes (Waterwell- Broadway League Distinguished Performer nominee), Merry Wives (Public Theater); Select Regional Theater: Escape to Margaritaville(Gateway Playhouse), Sister Act (Ever Blue Arts); TV: Ms. Pat Show (BET+); Film: Regarding Us (Paramount+) BFA- Acting from AMDA.

Elektra T. Newman (she/her) is a “master of none” working as a freelance artist in the metro-area – of the 30+ companies she’s been affiliated with some include The Huntington Theatre Co., Gloucester Stage, Commonwealth Shakespeare Co., Boston Center for the Arts & The Gold Dust Orphans, all in a multiplicity of technical fields such as scenic carpentry/painting, lighting, props, sound, stage/house management, directing, performance, & playwriting. Currently, Elektra has been working full-time as a Props Artisan at American Repertory Theatre (A.R.T.), is the Artistic Director for Witch City Community Theatre in her hometown of Salem, MA, & acting Chair of the Watertown Cultural Council. She is a proud graduate of Suffolk University in Theatre & Arts Administration where she met much of the Front Porch family over the years.

Chloe Moore (she/her,) is a Boston-based Designer for Opera, Theatre and Dance.  She is grateful for the chance to help bring the Ufot Family Cycle to life through her costumes for The Ceremony(CHUANG Stage with BPT & BU SOT) and Her Portmanteau(Central Square Theater with Front Porch Arts Collective.)  Other recent designs include Something Rotten(Lyric Stage of Boston,) Breaking the Code(Central Square Theatre), Impressions of Pelléas, Cosi fan tutte, and L’Etoile(Boston Conservatory Opera), Annie and SpongeBob (Wheelock Family Theatre), as well as Let’s Celebrate!, and Is This America? (White Snake Projects.)  Her work has also contributed to collaborations with BLO, A.R.T., BEMF, and American Players Theater in Spring Green, WI.  Since receiving her MFA from Boston University, she has held faculty appointments at Shenandoah University, Boston University and Emerson College, where she currently teaches as part of the Theatre Design and Production Program. ChloeMooreDesigns.com

Eduardo M. Ramirez (Lighting Designer) Lighting Design – Central Square Theater: Her Portmanteau. Lyric Stage Boston: Crumbs From The Table Of Joy. Boston University: Once, The Legend of Georgia McBride, Aurora Borealis Dance Concert. Teatro Chelsea: Revitalized, 619 Hendricks. Boston Playwrights Theater: Eat Your Young. Southern Rep Theater: Everybody. Lower Depths Theatre: Romeo and Juliet. Marquette Theater: You Can’t Take It With You. Tennessee Williams Theatre Company: Suddenly Last Summer. Assistant Lighting Design – Miami New Drama: The Zionists: A Family Storm. Huntington Theatre: K.I.S.S.I.N.G. Westwego Performing Arts Center: Caroline, or Change. Lupin Theater: McBeth, The Tempest. You can see more at his website: emramirez.com, and his Instagram: @eduardoramkort

Bridgett Jackson (Dialect Coach) (She/Her/Hers) is a Dialect Coach, Accent Coach, Speech/Diction Coach and a certified Speech-Language Pathologist. She is delighted to be the dialect coach for In Old Age. She also worked on The Ceremony and Lifted in the Ufot Family Cycle. She was a professor of voice, speech and dialects at Muhlenberg College, and was a guest lecturer with the Stella Adler Studio of Acting. She holds a Master of Science degree from Howard University, with a specialization in dialects and accents. Some of her film and episodic credits include I Wanna Dance With Somebody (Sony Tristar), Black Cake (Season 1, Hulu), The Equalizer (Season 1, CBS), Never Let Go (Lionsgate), The Last Days of Ptolemy Grey (Apple TV+), Winning Time (HBO), and Random Acts of Flyness (HBO). Some of her theater credits include Ain’t No Mo’ on Broadway, Cullud Wattah with The Public Theater in New York, NY and Cost of Living (2018 Pulitzer Prize Winner) with The Fountain Theatre in Los Angeles, CA. She was the Dialect Coach with The Baker Theater at the Muhlenberg College Department of Theatre and Dance for A Raisin In The Sun. Each experience has shaped her view of the world in new and exciting ways.

Phyllis Y. Smith is a Boston-based theatre technician, production manager, and arts administrator with more than 20 years of experience in theatre, film, live events, and cultural programming. Over the years, they have worked as a Production Stage Manager, Production Manager, Technical Director, Electrician, Carpenter, Event Coordinator, and Producer, supporting everything from new plays and large-scale productions to festivals and galas.

A familiar face throughout Boston’s arts community, Phyllis has worked with artists and organizations, helping bring creative projects to life onstage and behind the scenes. In addition to their production work, they have held leadership roles in venue and operations management, supporting artists, audiences, and cultural organizations. Whether calling a show, hanging lights, building scenery, or managing a production team, they enjoy the collaborative process that makes live performance possible.

Phyllis is proud to support artists’ work and is a member of Actors’ Equity Association.

Front Porch Arts Collective is Boston’s leading Black theater company, creating Black-centered theatrical experiences that reckon with the world as it is and imagine what it could be. Through bold productions, artist development, education initiatives, and community partnerships, Front Porch amplifies Black voices, preserves and advances Black cultural traditions, and cultivates spaces where artists and audiences can gather in joy, reflection, and belonging. Led by Producing Artistic Director Maurice Emmanuel Parent and Associate Artistic Director Pascale Florestal, the Porch is committed to artistry, cultural stewardship, and collective liberation, envisioning a world where Black people are loved, celebrated, and at home. Front Porch Arts Collective is a lead activation partner in the city-wide Ufot Family Cycle, helping bring Mfoniso Udofia’s epic nine-play saga to audiences across Greater Boston. frontporcharts.org.

THE HUNTINGTON is Boston’s theatrical commons and leading professional theatre company. On our stages and throughout our city, we share enduring stories that spark audience and artist imaginations and amplify our community’s wide range of voices. Led by Artistic Director Loretta Greco and Executive Director Christopher Mannelli, The Huntington welcomes broad and diverse audiences, changes lives through education and community programs, develops playwrights and new plays, and serves the local arts community by operating The Huntington Calderwood/BCA. The Huntington is the “motherboard” of the 2–year, city–wide Ufot Family Cycle, bolstering our activation partners‘ creative process and success through resources and connection. huntingtontheatre.org 

The Gaining Ground Fund elevates and encourages the ambitions of artists, such as Front Porch Arts Collective, developing work for the world stage that reflects the African Diasporic experience in America. Donations made during the run of In Old Age will be shared between The Gaining Ground Fund and Front Porch Arts Collective.

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Think Outside the Vox is honored to offer culturally competent Audio Description (AD), American Sign Language (ASL) interpretation and Open Captioning (OC) at select performances of In Old Age and employ access providers that embrace and embody disability identities and multiple generations of the Black, African, and immigrant experience.

IN OLD AGE AMERICAN SIGN LANGUAGE TEAM

Kellynette Gomez (she/her) Director of Artistic Sign Language
Kellynette has been a Director of Artistic Sign Language (DASL) for Sardines at The Huntington Theatre and You Can’t Take It With You at Exit 7 Players Theatre. Beyond the stage, she moderated the Boston Symphony Orchestra’s community discussion Beethoven: New Ways of Hearing and contributes to the Boston Landmarks Orchestra Accessibility Council, where she helps shape inclusive engagement for Deaf and Hard of Hearing audiences in music and theater spaces.

Chloe Frey (she/her) ASL Interpreter Chloe is thrilled to be joining the ASL team for In Old Age. She previously interpreted for SpaceBridges. Chloe is a Northeastern University graduate with a degree in ASL-English Interpreting and works as a staff interpreter while freelancing. Chloe would like to thank ArtsEmerson and the Think Outside the VOX team for working to make theatre accessible for everyone.

Jessenia Kolaco (she/her) ASL Interpreter
The daughter of a Liberian father and a Puerto Rican mother, Jessenia is a recent ASL Interpreting graduate from Framingham State University. Recent credits include HONK! at Open Door Theatre and The SpongeBob Musical at Wheelock Family Theatre. Witnessing the lack of representation and respect for cultures, she decided to become an interpreter to support the empowerment of the Deaf community through accessible, inclusive and representative communication services. In her free time, she enjoys spending time with her dogs, playing video games, and crocheting.

Curious about the intersection of culture and disability? Want to support BIPOC, LGBTQIA+ and disabled access providers? Visit ThinkOutsideTheVox.org to learn more and donate.

IN OLD AGE AUDIO DESCRIPTION TEAM

Kwaku Darko (he/him) Blind Expert and AD Consultant
Kwaku is a multi-instrumentalist, educator, composer and performer. He was born in Ghana, grew up in Hartford, CT, and graduated from Berklee College of Music in 2025. Kwaku teaches at Match Community Day and consults on Audio Description through VOX (UFOT Family Cycle), on films, and with Lincoln Center. Kwaku is the Assistant Director at Camp Exsighting in NH and mentors Blind/Low Vision youth at LEAP in VT. He directed Beyond the Blackbox, a live production of original compositions performed fully in the dark to raise disability advocacy and awareness.

Maria Hendricks (she/her) In-show Audio Describer
Maria is an Afroindigenous actress, singer & activist. She is Assonet & Mashpee Wampanoag and speaks Spanish, Brazilian and European Portuguese, Cabo Verdean Creole, French, Italian & Papaiamento. An Equity actor, she has performed on professional stages nationally, and served as Resident Artist/Co-Artistic Director for two seasons at New Rep where her work focused on creating platforms and celebrating historically marginalized voices and groups in Greater Boston. Her performance as Mother in Moonbox’s Passing Strange was nominated for an Elliot Norton Award in 2024. Maria has served as an Audio Describer for Lincoln Center, Providence PAC, ART, The Huntington and more. She is a cultural/linguistics consultant for arts organizations and freelances as a Certified Court Interpreter.

Joshua Olumide (he/him) Pre-show Audio Describer
Regional theater acting credits: World premiere of Mfoniso Udofia’s The Grove and Sojourners (The Huntington Theater); Commonwealth Shakespeare Company: As You Like It, The Winter’s Tale; Classic Theatre of Maryland: Romeo and Juliet; People’s Light: Our Town; Hanover Theatre Rep: Macbeth; New Repertory Theatre: A Raisin in the Sun; Pennsylvania Shakespeare Festival Willpower Tour; A Midsummer Night’s Dream. Pre-show AD credits: Mfoniso Udofia’s LIFTED and The Ceremony (CHUANG Stage). Film credits include Oscar-winning American Fiction (MGM; Detroit (Annapurna Pictures). Instagram: JoshOlumide_

IN OLD AGE OPEN CAPTIONING

Front Porch Arts Collective and VOX offer Open Captioning for the June 20th, 21st and 27th matinee performances. Captioning technology provided by CCTheater with editing and operation by VOX: Miller Outlaw (Script Doctor & Operator) Olivia Sutton (Script Operator) TVs provided by Commonwealth Shakespeare Company

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Front Porch Arts Collective Donors

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