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Is God Is
Drama. Poetry. Performance Studies. African & African American Studies. California Interest. Hybrid Genre. Winner of the 2016 Relentless Award from the American Playwriting Foundation. Winner of a 2018 Obie Award for Playwriting Soho Rep Special Edition. Introduction by Dawn Lundy Martin. Aleshea Harris' IS GOD IS is a classic revenge tale about two sisters that blends tragedy, typography, the Spaghetti Western, hip-hop and Afropunk. In this necessary new play, emotions are laid bare through gaps in language and characters are a window into the canon as well as our own broken times.
134 pages, Paperback
First published March 30, 2017
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Displaying 1 - 30 of 94 reviews
June 21, 2026
Updated review, 2026 - 3.5 stars, rounded up:
The impetus for the reread is that the film version, mentioned below, finally appeared - I didn't get to catch it in theatres, but intend to watch it on DVD when it comes out next month, mainly as I am a HUGE fan of Kara Young, who plays Racine in it. It got great reviews (97% fresh on Rotten Tomatoes!) but came and went quickly without much fanfare.
On the reread, and in light of the trailer (below), I could see more of what Harris was after - but it seems to be MUCH better suited to the screen than the stage - the script not only calls for a car onstage, but for a conflagration at the climax which would be well-nigh impossible to stage effectively.
https://www.youtube.com/watch?v=pgtdk...
OG review, 2018 -3 stars: I became aware of this new play when the NYT named it one of the 10 best for 2018. I can only presume it plays a lot better than it reads, as - even with some funky 'adventures in typography' (as the script edition calls it - which basically means the font size changes for no apparent reason, and words are set out on the page helter-skelter) - the play itself is readable but doesn't seem all that special.
The plot concerns a set of African-American twin girls who, back when they were babies, were severely burned in a fire, along with their mother (whom they inexplicably think is God) set by their father, who then disappeared. All of them bear scars over much of their bodies, and as the mother feels she is about to die, burdens her daughters with seeking the death of the perpetrator.
Supposedly inspired by the fable of Cain & Abel, and the alleged curse of black skin ensuing from such, the play presents some Tarantino-esque scenes of carnage, prior to its mild resolution. Uber-producer Scott Rudin has purchased the film rights, so there must be something here I'm not seeing.
PS... this is the first book published by 3Hole Press, which extends its brand by, indeed, having three holes punched in the front cover! Clever!
https://www.theguardian.com/stage/202...
The impetus for the reread is that the film version, mentioned below, finally appeared - I didn't get to catch it in theatres, but intend to watch it on DVD when it comes out next month, mainly as I am a HUGE fan of Kara Young, who plays Racine in it. It got great reviews (97% fresh on Rotten Tomatoes!) but came and went quickly without much fanfare.
On the reread, and in light of the trailer (below), I could see more of what Harris was after - but it seems to be MUCH better suited to the screen than the stage - the script not only calls for a car onstage, but for a conflagration at the climax which would be well-nigh impossible to stage effectively.
https://www.youtube.com/watch?v=pgtdk...
OG review, 2018 -3 stars: I became aware of this new play when the NYT named it one of the 10 best for 2018. I can only presume it plays a lot better than it reads, as - even with some funky 'adventures in typography' (as the script edition calls it - which basically means the font size changes for no apparent reason, and words are set out on the page helter-skelter) - the play itself is readable but doesn't seem all that special.
The plot concerns a set of African-American twin girls who, back when they were babies, were severely burned in a fire, along with their mother (whom they inexplicably think is God) set by their father, who then disappeared. All of them bear scars over much of their bodies, and as the mother feels she is about to die, burdens her daughters with seeking the death of the perpetrator.
Supposedly inspired by the fable of Cain & Abel, and the alleged curse of black skin ensuing from such, the play presents some Tarantino-esque scenes of carnage, prior to its mild resolution. Uber-producer Scott Rudin has purchased the film rights, so there must be something here I'm not seeing.
PS... this is the first book published by 3Hole Press, which extends its brand by, indeed, having three holes punched in the front cover! Clever!
https://www.theguardian.com/stage/202...
November 19, 2025
Now here’s a damn play!!!
June 29, 2026
the typography in this script is soooooo !!
May 15, 2026
Read this for the upcoming movie...I love revenge!
Crazy story! It is very violent from the start and doesn't shy away from it. In abut 100 pages we explore cycles of revenge, family traumas, female rage but most importantly retribution.
The fonts in the book are strange and I honestly don't understand why it's done...
Crazy story! It is very violent from the start and doesn't shy away from it. In abut 100 pages we explore cycles of revenge, family traumas, female rage but most importantly retribution.
The fonts in the book are strange and I honestly don't understand why it's done...
June 25, 2018
This is a beautifully published and poetic script. It's violent and electric and the characters are written for actors. There are no good guys in this play. This is a masterful blend of poetry and theater. Set apart from time and space, but distinctly American. Using dialect and and elevating it to the point of high poetry. This play is a true American tragedy.
I'm excited to see more of her work.
I'm excited to see more of her work.
July 19, 2026
#Ihatemydad
January 6, 2024
this play is cool as fuck. (SPOILERS AHEAD) It is my second read of the week about black intergenerational trauma x murder and it was maybe done better in we deserve monuments, but hey this is a cool play and you don’t get everything in just reading a play (duh). though perhaps a little sparsely developed, I thought this was a good (but quick!) read overall and I am VERY excited to see it staged fr. but damn, so violent and the “adventures in typography” as harris puts it, do make it a little hard to read on paper (which is why it’s a PLAY, duh). and I get the violence as a conduit of trauma and rage, but I just wished there was one climax of love in a relationship in the play, yk? it feels like an exploration of poetry at some points rather than a full play’s arc. things definitely happen and change, but i’m not sure I even know enough about the characters to know if they change and grow too (although this is kind of a silly comment if you’ve read this play given the plot, and if u read on, you’ll see why)
(SPOILERS SPOILERS NO REALLY MAJOR MAJOR SPOILERS AHEAD)
did they really all have to die though? it maybe felt a bit rushed and underdeveloped. the voices of the characters were definitely super distinct and I totally got the sense that they were each individuals, but there was just not enough there for me in the text really. BUT READY TO SEE IT ONSTAGE, (there is plenty of room to fill it all in in performance I think? but def will still be a litttttle abstract). also I thought the pregnancy spring at the end was just a littttttle trite.
BUT AGAIN — I just think I didn’t get it and I *will* get it when performed. it was definitely explosive and dynamic, and i’m sure will be better in motion. so goes poetry <3
(SPOILERS SPOILERS NO REALLY MAJOR MAJOR SPOILERS AHEAD)
did they really all have to die though? it maybe felt a bit rushed and underdeveloped. the voices of the characters were definitely super distinct and I totally got the sense that they were each individuals, but there was just not enough there for me in the text really. BUT READY TO SEE IT ONSTAGE, (there is plenty of room to fill it all in in performance I think? but def will still be a litttttle abstract). also I thought the pregnancy spring at the end was just a littttttle trite.
BUT AGAIN — I just think I didn’t get it and I *will* get it when performed. it was definitely explosive and dynamic, and i’m sure will be better in motion. so goes poetry <3
This entire review has been hidden because of spoilers.
July 16, 2026
I don’t normally read plays but this was cool, I liked the fun typography and twin stories always hit. Reading this went by pretty fast and didn’t leave a huge impression on me as the writing was mostly quick and simple, but there were some good gems that made me stop and admire.
February 21, 2026
WOW is most of what I can say.. typography so beautiful and interesting!
May 14, 2026
whoever coined the phrase “plays should be seen and not read” never read Is God Is
June 29, 2026
had to read this after falling in love with the movie (which was directed by the playwright!!!). so so good, love how it pushes the boundaries of what a play can look like on the page
March 30, 2025
I discovered Aleshea Harris via a profile of her in the New York Times, I believe. I was so delighted to discover a Black female playwright. The profile led me to check out her play “On Sugarland” which was magnificent. I knew I wanted to discover her other plays. So I picked up “Is God Is.”
I found this play to be so taut, inventive and explosive. I was utterly gripped by the story and how Harris experiments with typograph and rhythm. This was a short and riveting read. I’m eager to see and read more of Harris’s work.
I found this play to be so taut, inventive and explosive. I was utterly gripped by the story and how Harris experiments with typograph and rhythm. This was a short and riveting read. I’m eager to see and read more of Harris’s work.
January 11, 2019
Deeply harrowing and quieting, this play is beautifully published for the lover of reading plays and the first-time play reader. Each character is doomed, maybe cursed, suffering under their own actions, or are these the result of another’s choices. This play refuses to let the reader choose a side, though it will tease you into thinking you stand strong on whichever side you find yourself until it all ends up in flames.
December 18, 2019
WTAF - I might have more opinions/thoughts after class discussion, but I feel very uncomfortable
April 21, 2024
oh my...
August 7, 2026
10/10
Another of the plays that I would put on my "gold-standard". I think a play needs to be able to give the feeling of a specific day and time - whether that be a weary, wet, rainy Tuesday in October for "The Last Days of Judas Iscariot" or a dark, freezing night in "Bachelorette", I think it is indicative of a playwright's skill to be able to evoke that feeling (or intentionally erase that feeling).
Aleshea Harris here manages to channel that. This entire read, despite it being the depths of winter, the story itself seemed to seep out a sickly heat - I could almost hear the cicadas as well. This ability carries on in the rest of the storytelling - this story about the cycle of abuse (whether on children or on spouses) and, of course, revenge, is done so beautifully well.
The way it's written- the prose itself - is written in such a beautiful black way that it truly adds to the experience. I think if it was written the way your average white male playwright wrote it, so much nuance would be lost and the story would definitively suffer for it. It is a play so deeply entrenched in blackness that to remove the blackness from the story would be removing the story itself.
I think plays often benefit from smaller casts - some of course warrant larger casts and would not work with a small cast, but I find that I often end up loving when we spend so much time with only a couple of protagonists because it gives us a deeper understanding of them as people. Racine and Anaia's dynamic pushes the plot forward in a way that feels natural and active. I also like the solid distinctions between the two- there's a lot of love between the two (they're all each other truly has) but also a sort of resentment of the other's philosophy. Racine wishes Anaia was more proactive and less willing to take other people's shit, while Anaia wishes Racine wouldn't snap so easily and take everything so personally. This little bit of tension between these two really helps wrap that sibling situation together.
Both their mother and father have surprisingly small roles, but their existence hangs over the audience while you read/watch the story. The father, of course, is the major villain, the one that hangs over the story. He's a textbook abuser- hurts one person and goes onto the next with no remorse. I would've liked to see a little bit more dimensionality from him, but I don't knock the story for it; some people are truly terrible and never, ever change, nor show true guilt for their actions.
Speaking of guilt for their actions, one scene that sticks with me (or an entire sequence, really) is the whole "meeting their half-brothers and stepmother". The scene specifically is so visceral, especially with what Racine ends up doing to the majority of the family. It reminds me a bit of her father, though I hate to say it. We often inherit terrible things we want nothing to do with from our parents, and she inherited his penchant for violence and temper. The stripper part with their half brothers made me shiver with disgust, as it's intended to. It makes you feel like vomiting, knowing everything about this is gonna go wrong no matter what, just like how when Racine meets with the fleeing mother.
I specifically liked how the mother was both a victim and a bit of a villain who wanted to use her daughters to exact revenge on her ex-husband. The last scene ties it together, perfectly, with one last act of revenge to end it all. I like the finality of the ending, but leaving you with that question of "Will Anaia be the one to end the generational trauma and family curses?"
Another of the plays that I would put on my "gold-standard". I think a play needs to be able to give the feeling of a specific day and time - whether that be a weary, wet, rainy Tuesday in October for "The Last Days of Judas Iscariot" or a dark, freezing night in "Bachelorette", I think it is indicative of a playwright's skill to be able to evoke that feeling (or intentionally erase that feeling).
Aleshea Harris here manages to channel that. This entire read, despite it being the depths of winter, the story itself seemed to seep out a sickly heat - I could almost hear the cicadas as well. This ability carries on in the rest of the storytelling - this story about the cycle of abuse (whether on children or on spouses) and, of course, revenge, is done so beautifully well.
The way it's written- the prose itself - is written in such a beautiful black way that it truly adds to the experience. I think if it was written the way your average white male playwright wrote it, so much nuance would be lost and the story would definitively suffer for it. It is a play so deeply entrenched in blackness that to remove the blackness from the story would be removing the story itself.
I think plays often benefit from smaller casts - some of course warrant larger casts and would not work with a small cast, but I find that I often end up loving when we spend so much time with only a couple of protagonists because it gives us a deeper understanding of them as people. Racine and Anaia's dynamic pushes the plot forward in a way that feels natural and active. I also like the solid distinctions between the two- there's a lot of love between the two (they're all each other truly has) but also a sort of resentment of the other's philosophy. Racine wishes Anaia was more proactive and less willing to take other people's shit, while Anaia wishes Racine wouldn't snap so easily and take everything so personally. This little bit of tension between these two really helps wrap that sibling situation together.
Both their mother and father have surprisingly small roles, but their existence hangs over the audience while you read/watch the story. The father, of course, is the major villain, the one that hangs over the story. He's a textbook abuser- hurts one person and goes onto the next with no remorse. I would've liked to see a little bit more dimensionality from him, but I don't knock the story for it; some people are truly terrible and never, ever change, nor show true guilt for their actions.
Speaking of guilt for their actions, one scene that sticks with me (or an entire sequence, really) is the whole "meeting their half-brothers and stepmother". The scene specifically is so visceral, especially with what Racine ends up doing to the majority of the family. It reminds me a bit of her father, though I hate to say it. We often inherit terrible things we want nothing to do with from our parents, and she inherited his penchant for violence and temper. The stripper part with their half brothers made me shiver with disgust, as it's intended to. It makes you feel like vomiting, knowing everything about this is gonna go wrong no matter what, just like how when Racine meets with the fleeing mother.
I specifically liked how the mother was both a victim and a bit of a villain who wanted to use her daughters to exact revenge on her ex-husband. The last scene ties it together, perfectly, with one last act of revenge to end it all. I like the finality of the ending, but leaving you with that question of "Will Anaia be the one to end the generational trauma and family curses?"
This entire review has been hidden because of spoilers.
May 25, 2026
Is God Is by Aleshea Harris
I read this the night before going to see the film. Playwright Aleshea Harris also wrote and directed the film, which I found fascinating: I got to read the script, and then witness the creator's full vision come to life. For anyone curious: the film actually adds to the story a bit - and it ends a little differently.
Anyway, this is gripping and stylized (and the way the film works with that style is really cool!) and I don't quite known that I got everything either the play or the film were trying to say.
But a worthwhile experience in both formats! Very curious to read more of Harris' work - and hopefully see more of it as well!
Reading history:
Normally I keep this in my private notes section, but I'm moving it. Yay!
Reading history was not added on Goodreads, but was instead kept on a small piece of paper with the book.
Started May 11th, 2026.
Restarted May 23rd, 2026.
Finished May 23rd, 2026.
Started with a copy of the play as published in a double play compendium by Aleshea Harris; then went to the first edition published by Three-Hole Press to read the whole play.
May 11th, 2026: read scene 1 ("A Letter") in the double-play physical copy.
May 23rd, 2026: restarted; read entire play in Three-Hole Press first edition.
I read this the night before going to see the film. Playwright Aleshea Harris also wrote and directed the film, which I found fascinating: I got to read the script, and then witness the creator's full vision come to life. For anyone curious: the film actually adds to the story a bit - and it ends a little differently.
Anyway, this is gripping and stylized (and the way the film works with that style is really cool!) and I don't quite known that I got everything either the play or the film were trying to say.
But a worthwhile experience in both formats! Very curious to read more of Harris' work - and hopefully see more of it as well!
Reading history:
Normally I keep this in my private notes section, but I'm moving it. Yay!
Reading history was not added on Goodreads, but was instead kept on a small piece of paper with the book.
Started May 11th, 2026.
Restarted May 23rd, 2026.
Finished May 23rd, 2026.
Started with a copy of the play as published in a double play compendium by Aleshea Harris; then went to the first edition published by Three-Hole Press to read the whole play.
May 11th, 2026: read scene 1 ("A Letter") in the double-play physical copy.
May 23rd, 2026: restarted; read entire play in Three-Hole Press first edition.
June 29, 2025
In my play-reading bag! This was from earlier in spring quarter. I'd say a 4.5 ish with an extra .2 bump for the fact that it sat with me and I really had to digest it before starting another play.
-TLDR: READ THIS PLAY IF YOU CAN
(SPOILER AHEAD)
This play was crazyyyy. I really enjoyed the different stylistic liberties Alesha Harris took with the text in the published play. They really informed how I imagined the line delivery. I was surprised at how much I as a reader could fill in the blanks from just the dialogue and stage directions. It would be really cool to direct a production of this. i felt like for certain scenes I imagined a theater performance on a set, while for others I imagined it as more of a film.
The ending was WILD, and the fact that ‘Naia was the one who survived? phew. it was a lot more violent than i expected, but i found a promo about a production where the director had some interesting thoughts. When a person is victim to brutality, does that justify their own violent actions? How much?
-TLDR: READ THIS PLAY IF YOU CAN
(SPOILER AHEAD)
This play was crazyyyy. I really enjoyed the different stylistic liberties Alesha Harris took with the text in the published play. They really informed how I imagined the line delivery. I was surprised at how much I as a reader could fill in the blanks from just the dialogue and stage directions. It would be really cool to direct a production of this. i felt like for certain scenes I imagined a theater performance on a set, while for others I imagined it as more of a film.
The ending was WILD, and the fact that ‘Naia was the one who survived? phew. it was a lot more violent than i expected, but i found a promo about a production where the director had some interesting thoughts. When a person is victim to brutality, does that justify their own violent actions? How much?
This entire review has been hidden because of spoilers.
April 24, 2023
A modern folk tale that stumbles on many of the pitfalls of simplistic moralism historically found in the form. Racine is an evil, sexy, idol worshiper who ends her journey dragged to hell by “the devil”. Anaia is a good (?) innocent, final girl, saved from sin (internal ugliness) by her physical “ugliness”; who only kills in self defense, other defense, or to destroy the false idol.
(Is she really good though because she passively sat by and let this all happen or even enabled it? Probably that lingering question is intentional(?).)
I wonder what this writer would have to say about her relationship to her own mother.
Well crafted. Darkly funny. Dialogue that felt both poetic and realistic. Tight and propulsive.
Maybe the play is right and we can’t escape our generational trauma but it’d be nice to think otherwise.
(Is she really good though because she passively sat by and let this all happen or even enabled it? Probably that lingering question is intentional(?).)
I wonder what this writer would have to say about her relationship to her own mother.
Well crafted. Darkly funny. Dialogue that felt both poetic and realistic. Tight and propulsive.
Maybe the play is right and we can’t escape our generational trauma but it’d be nice to think otherwise.
This entire review has been hidden because of spoilers.
June 25, 2026
4🌟 idk why this took me so long to finish but it was phenomenal
twin sisters getting revenge on their evil daddy is exactly what i ordered. the completely contrasting displays of ‘black woman rage’ was written so beautifully. the vibrant character of the script made every line of dialogue feel like it was going to come right up off the page. also i think i might have slightly enjoyed this more than the movie, but i would definitely recommend checking both out!
☾˚ ☼ ｡ﾟ𖥔 ݁˖ ⋆ my favorite parts:
twin sisters getting revenge on their evil daddy is exactly what i ordered. the completely contrasting displays of ‘black woman rage’ was written so beautifully. the vibrant character of the script made every line of dialogue feel like it was going to come right up off the page. also i think i might have slightly enjoyed this more than the movie, but i would definitely recommend checking both out!
☾˚ ☼ ｡ﾟ𖥔 ݁˖ ⋆ my favorite parts:
“i wanna step on somethin for once. see what it feel like. must feel good.”
“you ever wanna scrape your scars off and see what’s underneath?”
September 23, 2022
I have the Samuel French actor's edition and read it after seeing the production by Canadian Stage in Toronto, May 22, 2022, and staying for the talk back session afterwards. The production was outstanding. I wanted to read the play again, partly because I wanted a copy of a play I thought was so good, but also because at the talk back, the production and acting team talked about the unique way the script was intentionally written, with different sized fonts, staggered, separated, wavy, and so on, to emphasize what the playwright was envisioning.
January 12, 2025
I saw Is God Is live in 2023 during a Black Out event in Ottawa, Ontario. I didn’t know what to expect going in, but by the end of it, I was so completely blown away. While the after-party was amazing, the show itself was absolutely spectacular—so much so that I still talk about it two years later. The storytelling, performances, and raw emotion were unforgettable. I wish I could bring more people to experience it with me all over again.
December 10, 2025
What a wild effing ride. Relentless and brutal and every bit of it earned. I loved the dialog and the logic that threw us from one death to another. And I did rather like the typography play.
And. I have ZERO desire to see this as a film. (Okay, not totally true: I have a small desire.) I'm imagining filmed violence to be so much more harrowing than in the theater, where it seems, it is all a bit mythical. (Maybe they'll be able to achieve that on film? Okay okay, I'm curious.)
And. I have ZERO desire to see this as a film. (Okay, not totally true: I have a small desire.) I'm imagining filmed violence to be so much more harrowing than in the theater, where it seems, it is all a bit mythical. (Maybe they'll be able to achieve that on film? Okay okay, I'm curious.)
September 9, 2023
Not what I expected, but interesting and challenging enough. Feels like it skims over itself, perturbing the reader/audience without a moment of reprieve until the end- though that’s far from the emotion you’ll likely feel by the time you read the last line. Trying to Understand Plays again; given the classical leanings of this one, I’m not off to a horrible start.
July 11, 2024
Like another poster said, I'm sure it plays better than it reads.
The concept was good, but personally think the author could've stayed on the path of reality instead of introducing murder and 'bringing back treasures from the victims' - I think this broke the illusion and the play felt like it was forcing itself to be different by adding in these elements.
The concept was good, but personally think the author could've stayed on the path of reality instead of introducing murder and 'bringing back treasures from the victims' - I think this broke the illusion and the play felt like it was forcing itself to be different by adding in these elements.
This entire review has been hidden because of spoilers.
March 18, 2026
4.3. Fantastic. So many poetic moments that will stick with me. So smart. Glad this is getting a movie adaptation! I actually think it’s one of those rare plays that will translate successfully to the screen—it’ll lose some of its magic but it’ll gain new magic. It’s a western and I think movies are the OG form of the western so perhaps that’s why I think it’ll work.
May 7, 2026
I saw the trailer for the movie adaptation and thought it sounded cool, but then I heard it was based on a play and had to get my hands on it.
This is a violent and ruthless revenge story that really had me wondering where it would go. I do wish it were a little longer so we could get to spend some more time with the twins, but overall I really enjoyed it.
This is a violent and ruthless revenge story that really had me wondering where it would go. I do wish it were a little longer so we could get to spend some more time with the twins, but overall I really enjoyed it.
July 30, 2026
So maybe it is because I saw the film adaptation earlier this year, but this play reminded why a well-written play is just as exciting on the page. Loved this. It’s angry and slick. I think the film fleshes things out quite a bit, but that’s no knock on this. Reading this made me want to get a cast together and put it on stage because it is so interesting in play form. Really good stuff.
December 17, 2018
The way Aleshea writes brings the reader and viewer on a strange important journey through pain and reconciliation. She masters language and dialect while simultaneously directing delivery in the readers head. I definitely recommend to any and all to read this powerful piece of writing.
January 23, 2023
Harris defines anger within a spiritual and uniquely female sphere, equating rage to the religious fervor prevalent within America’s Bible Belt. This is a retelling of Cain and Abel laden with social commentary—and well done at that.
Displaying 1 - 30 of 94 reviews