(l-r) Dominic Hoffman and Chris Bauer in Race
By Darlene
Donloe
“There is
nothing a white person can say to a black person about race.”
David Mamet has
never been afraid of getting his hands dirty or tackling controversial issues.
In his drama, Race, the award-winning
playwright/director puts his spin on the provocative and volatile subject of Race.
The title alone
warns the audience to hold on to their hats for what is sure to be a wild Mamet
dance as he does the racial two-step like only he can.
It’s not a new
presentation. In fact, it’s actually an old story literally told in black and
white. A white man has a black woman as a lover. Something goes wrong and now
he’s being accused of rape.
Charles
Strickland (Jonno Roberts), a wealthy white executive wants to hire the law
firm helmed by Henry Brown (Dominic Hoffman), a black lawyer and Jack Lawson
(Chris Bauer), a white lawyer. He wants them to defend him against the charge
of raping a black woman.
There is also a new legal assistant in the office named Susan, who plays
a vital role in the case. There’s
more to Susan than what meets the eye. Repeatedly declaring his innocence,
Strickland meets his match with Brown and Lawson, who don’t pull any punches
when it comes to his chances court. We meet all the plays in the boardroom of the law office just
as Brown and Lawson are deciding whether to take the case. They explain to Strickland that he may
lose the case based on the fact that he is rich and white and the accuser is
poor and black.
Jonno Roberts
As the seedy
story begins to unfold, racial epithets and other racial sore spots are
exposed. Mamet (Glengarry Glen Ross, Keep Your Pantheon, Faustus) is good at
writing reality and raising many painful questions. He also talks about the
white man’s guilt and how the African American race still feels shame. The
realistic banter and uncomfortable conversations the characters share are what
makes this play a gem. Mamet lets
it fly and it doesn’t always have a safe or soft landing. The words, fucking, nigger and
bitch are used liberally. There is even use of the dreaded “c” word (cunt).
It’s always
interesting to watch a play about the touchy subject of race relations with a
racially mixed audience.
Some members of
the audience squirm, others wear their uneasiness on their faces, while others
wait to see if it’s safe to laugh by watching the reactions of the other race.
Dominic Hoffman
Chris Bauer
America has yet
to heal from its ugly racial wounds. What people say and how they live are
still at odds. Skin color still
plays a major role in society – even in the White House. The reality is nothing much has changed
and Mamet isn’t afraid to say so.
Director Scott
Zigler has assembled a solid cast.
The acting is
engaging and at times even comical. The subject matter is so fiery, Mamet
obviously through in some comedic banter to lessen the impact.
Hoffman and
Bauer anchor this production with their chemistry and robust performances. Hoffman,
whose character has no problem speaking his mind – political correctness be
damned, is confident in his presentation. Bauer, who plays a painfully candid
Lawson, commands the stage with ease. The relationship between the two veteran
actors is smooth and unforced. Roberts is satisfying as a rich, white man
totally confused about why he’s in the position he’s in. DeWanda Wise, who plays Susan, the
legal assistant, is a good actress but felt out of place, (which admittedly
could have been the point) and a bit disjointed as she seemed to be practicing
the art of projecting her voice.
DeWanda Wise
Mamet’s dialogue
is crisp, to the point, harsh, and effective. The play is chock full of Mamet-ized, colorful one-liners. Although
the harsh words flow easily, it never feels exploitive or frivolous. The show is in your face from beginning
to end. Of course, that means it stays at the same temperature throughout its
90 minutes – never elevating its intensity.
Mamet is known
for his quick-witted dialogue, which goes something like this: "It's a
complicated world, full of misunderstandings," Lawson observes.
"That's why we have lawyers." Or, "This isn't about sex, it's about race,"
says Susan. "What's the
difference?,” replies Lawson. When
asked by Susan whether he thinks black people are stupid Lawson says, “I think
all people are stupid. I don’t think blacks are exempt.”
(l-r) Dominic Hoffman and DeWanda Wise in Race
Race was first seen in New York at the Ethel Barrymore Theatre
on December 6, 2009. It was directed by Mamet. It received its UK premiere at
the Hampstead Theatre on May 23, 2013
Race, directed by Mamet, stars Dominic Hoffman, Chris Bauer,
Jonno Roberts and DeWanda Wise.
Jeffery P.
Eisenmann’s set design works, as does Leah Piehl’s costumes and Josh Epstein’s
lighting.
On the DONLOE
SCALE: D (don’t bother), O (oh,
no), N (needs work), L (likeable), O (oh, yeah) and E (excellent), Race gets O (oh, yeah).
Race, Kirk Douglas Theatre, 9820 Washington Blvd., Culver City,
8 p.m. Tues-Fri., 2 and 8 p.m. Sat., 1 and 6:30 p.m. Sun; no performance on
Mondays, through Sept. 28; $25-$55; www.CenterTheatreGroup.org.
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