A Freeky Introduction certainly achieved one thing: it completely freaked me out.
I wasn’t sure what to expect going in. The play’s description on the Atlantic Theater’s website was more suggestive than specific, promising a blend of “African storytelling, Yoruba spirituality, and R&B/Hip Hop in this funny, sultry show.” It added: “Everybody talks about freedom, but few know how to get there. That’s because they don’t know their Freek… You wanna get free? Then come get your Freek on!”
Which is to say: I walked in with an open mind and very few expectations—and that’s not necessarily a bad thing. In a world run by schedules and notifications, a little unpredictability can be refreshing. Surrendering to the unknown, even just for a night at the theater, can be liberating. Unfortunately, this particular journey felt more disorienting than enlightening.
Had I done more research in advance, I might’ve been better prepared. Normally, I avoid reading reviews until after I’ve seen a show—but this time, I needed to confirm that what I experienced wasn’t just me. A glance at Show-Score the next morning (I attended the Thursday, June 5th performance) confirmed I wasn’t alone. One reviewer wrote: “2 hours of nonsensical mambo-jambo. Excruciating at best. Totally amateurish and meaningless.” I wouldn’t go that far—but I understand the sentiment.
So, what is this show actually about?
The central figure is Freeky Dee (played by the show’s playwright, Nsangou Njikam), a mythic, shapeshifting character—part preacher, part emcee, part Yoruba trickster deity (Esu). He leads the audience through a solo, genre-blurring journey that blends ritual, stand-up, poetry, and hip-hop to explore themes of erotic freedom, divine affirmation, and self-love.
The narrative arc follows Freeky Dee’s romance with “Lady Liberty”—a symbolic figure representing freedom, temptation, and eventual betrayal. After she rejects him, he transforms from a love-struck performer into a spiritual prophet, spreading the gospel of “Freekdom.”
Conceptually, it’s a compelling framework. But in execution—particularly when Freeky Dee begins grinding on a stool to reenact a night with Lady Liberty—it veers into uncomfortable territory. What might have been a bold exploration of sexual liberation often feels excessive and underdeveloped.
The show promises a balance between the sacred and the profane, but delivers mostly the latter. Jokes lean heavily into overt sexual innuendo, and even the more thoughtful moments—like a symbolic eagle-and-buzzard allegory—are frequently undercut by juvenile punchlines (one involving “kicking them all in the dick” sticks out). At times, it felt less like a performance and more like a late-night monologue that blurred the line between comedy and confessional.
That said, there are strengths. The sound design (by G. Clausen and DJ Monday Blue) is vibrant and immersive, setting a strong rhythmic foundation. The lighting design (Sim Carpenter) adds welcome dynamism, and Freeky Dee’s choreography—sharply executed under the direction of Jill Vallery—is engaging and well-integrated. The set design is visually rich, juxtaposing graffiti murals with ancient cave-like depictions of sex, updated with emoji-like symbols (yes, the eggplant included).
Despite its moments of energy and artistic ambition, A Freeky Introduction left me confused, at times uncomfortable, and unsure of its deeper purpose. There’s a kernel of something powerful here—a hybrid of ritual, sexuality, and identity—but it’s lost in the noise of over-the-top jokes and a lack of narrative clarity.
In the end, I’m giving it two stars—not one—because the production design is strong, and there were moments when Njikam’s performance almost took flight. But overall, the show didn’t quite land.
Atlantic Theater: 336 West 20th Street – Atlantic Stage 2
Written By & Starring Nsangou Njikam
Directed By Dennis A. Allen Ii
Choreography By Jill M. Vallery
Featuring Dj Monday Blue
Running until: June 22, Saturdays at 6 PM and Sundays at 7 PM