The protagonist of Christina Anderson’s Good Goods (2009), Stacey Goods, physically returns to the black south, where he tends to his family’s general merchandise store that his father has recently abandoned. Rather than the store’s sole employee, Truth, assuming the store’s proprietorship, Stacey seizes the reins, setting up a battle between the two men. The play also follows the homecoming of Patricia, who is Stacey’s partner in their touring cabaret act and grew up in the same town as him, with her new companion, a runaway bride named Sunny.
Good Goods uses Stacey and Patricia’s return to their childhood homes as the occasion to interrogate the terms of inheritance, filial obligation, and parentage. At the same time, the play traces how much we change outside the environs of those homes and, consequently, differ from those who stayed behind. At first glance a tale of small town intrigue, Good Goods explodes its realistic trappings to explore the philosophical dimensions and mystical contingencies of the home, prompting reconsiderations of the significance of race and individual personhood in domestic, familial, and sexual relationships.