How does the inclusion of BJJ and the playwright interjecting the story affect the reception of the story? In his explanation of Act IV to the audience, does Jacobs-Jenkins suggest that these sorts of works are played out?
How does the use of whiteface tie into our previous mentions of reclaimations of minstrelsy? Is this genuine colorblind casting, or is Jenkins suggesting something else?
In his desire to make art without analysis of the race problem, does Jacobs-Jenkins’s inclusion of the racialized stereotype imply that racism is nearly inevitable in America, especially in a space with meetings of peoples of different backgrounds like in Terrebonne?
In the slight title shift from “The” to “An,” is this a suggestion from Jenkins that these sorts of stories of oppression have become too common, seen in his frustration with others analyzing his work as tackling the race problem, and that this sort of mistreatment has become so widespread that this tale is just one of many?