Forget bad kreyòl—call me a bad Haitian, because this girl has just now finally seen her first Dominique Morisseau play. It feels as though doing so is a huge right of passage as a Caribbean theater artist, as a Haitian-American theater artist, at that.

To venture out to a Dominique Morisseau play is to know you are about to encounter family—sometimes linked by blood (Detroit '67, Sunset Baby), by sweat (Skeleton Crew), or by struggle (Confederates). The playwright’s latest offering, a colorful Port-au-Prince-set family drama titled Bad Kreyòl, offers all three.

I wasn’t exactly sure what I was going to write about this play. By the time intermission hit, I thought to myself, what can I really say about a play written so skillfully by Dominique Morriseau, whose work leaves no stone left unturned and no question unanswered (except those you’re meant to sit with yourself)?