Drama Queens, a five-star arts journal focusing on female artists

Anya Kai, reporting

In the landscape of contemporary theatre, where familiar narratives often dominate, Naya James emerges as a compelling voice, unafraid to grapple with the monumental and the deeply personal. Her latest work, “60/40,” currently captivating audiences at the Hudson Guild in New York City, is not merely a play; it’s a visceral and timely exploration of humanity teetering on the brink, forcing us to confront uncomfortable truths about power, connection, and the very essence of our survival.

“60/40” plunges us into a harrowing future, decades after a devastating asteroid event has rendered Earth nearly uninhabitable. The premise is stark: to save humanity, 40% of the global population must be relocated to another planet. James masterfully sets the stage for an ethical and societal nightmare, immediately posing the agonizing question: who stays, and who goes?

This seemingly insurmountable dilemma unfolds over seven days and through the interwoven lives of seven distinct characters. James, in her own words, finds endless inspiration in the “quirks, delights and disasters” of people. This fascination translates powerfully onto the stage, where the intimate interactions between characters become the lens through which we examine the macro crisis. As the week progresses, a “carousel of interaction” reveals the interconnectedness of their lives, underscoring the profound impact that even the actions of a few can have on the collective.

The dystopian backdrop of “60/40” is not merely a futuristic fantasy; it’s a pointed commentary on contemporary anxieties. James explicitly draws inspiration from Naomi Klein’s concept of “disaster capitalism,” speculating on the potential for exploitation and the consolidation of power in the wake of catastrophe. The play envisions a world dominated by “ONE MEDIA,” a singular source of news and entertainment, now helmed by the newly elected heir. This blurring of public and private sectors breeds “major confusion” about the administration’s true motivations, forcing citizens to confront the dangers of unchecked authority and the urgent need for critical thinking.

James doesn’t shy away from the political undercurrents of her work. When asked about the “secret” political or moral message, her response is direct and potent: “For the love of god, stop equating power with competence.” This sentiment resonates deeply in a world grappling with misinformation and the consequences of electing unqualified leaders. “60/40” serves as a potent reminder of the importance of questioning authority and embracing collective power to combat tyranny and corruption.

The impact of the COVID-19 pandemic served as a significant catalyst for James in creating this dystopian drama. She observed how even amidst a global crisis, human behavior remained intrinsically linked to interpersonal relationships. “I found something very relatable about the idea of a play that focuses on small, intimate conversations against a massive existential backdrop,” she explains. Under the “brilliant” direction of Lu, the play delves into the nuances of human interaction, showcasing how individuals adapt their behavior depending on who they are with – a universal experience that adds a layer of profound relatability to the extraordinary circumstances.

Ultimately, James hopes that “60/40” will offer audiences more than just a thrilling narrative. In a world that often feels “upside down” and filled with “tremendous uncertainty,” she believes the path back to stability lies in human connection. “Human connection is always the best way to calm the storm,” she asserts. Through the interconnected stories of her characters, James underscores the vital importance of these bonds in the face of overwhelming adversity.

For those seeking theatre that dares to be bold and expansive, “60/40” is a must-see. James draws inspiration from genre-defying works like Michael R. Jackson’s “A Strange Loop” and Boots Riley’s “Sorry to Bother You,” and her own creation certainly carves a unique space in the theatrical landscape. She envisions “60/40” appealing to anyone “infuriated at the state of things right now and could use a good laugh and catharsis at the expense of Oligarchs,” as well as those who appreciate science fiction on stage and the artistry of strong acting.

Looking ahead, James is determined to find a longer run for “60/40,” recognizing the power of its message and the talent of its cast. She is also venturing into the world of film, developing a feature script about a rock-and-roll housewife and co-writing a “awesome” witch-themed film with Lu, her director for “60/40.”

Naya James is a playwright with a keen eye for the anxieties of our time and a remarkable ability to translate them into compelling theatrical experiences. “60/40” is a testament to her insightful storytelling and her unwavering belief in the power of human connection, even in the face of unimaginable crisis. This is a play that stays with you long after the curtain falls, prompting reflection on the choices we face and the values that truly define our humanity.