It had been a really hard day and the Whisperer was already running late. Fighting through a sea of yellow cabs in midtown while blowing my blaring my horn at slow moving and double parked vehicles, I woke up the dreaded “why” monster: Why is the city always so congested? Why didn’t I take the train? Why do Broadway tickets cost so much? Why am I doing this to myself? Why did I buy tickets to see Race? After all, isn’t Barak Obama now president? (LOL)
My disdainful questioning steadily lost steam as David Mamet’s Race literally took off with unapologetic alacrity from the opening scene leaving this jaded onlooker spellbound by the play’s fearless attempt to grapple with its “four letter” title. Chock-full-of pithy and provocative statements, Race is sure to get your adrenalin pumping and keep your interest from start to finish. Mamet’s writing moves quickly --with a jazzy spontaneity and vitality that initially distracted me but became less palpable as the rich plot took many interesting twists and turns. There is no room, or better yet no time, to get bored with this exciting play.
I sat up in my seat several times as words like “nigger bitch” were bandied about generating, what I suspected to be, uncomfortable laughter from the predominantly white audience. James Spader (Jack) is superbly cast and quite persuasive as the senior partner of a law firm ensnared into representing a white male who allegedly raped a black female. Armed with confused but definitive notions of race, the unbridled Jack says exactly what he thinks but appears not to care about what others think about what he says—a bittersweet honesty which ironically makes him scary yet lovable. When Jack says “I think all people are stupid and blacks are not exempt…” no one, black or white, is exactly sure what to do with this guy!
Jack has to defend a racial blunder-maker named Charles, adroitly played by Richard Thomas, who thinks he can smooth over all his racially insensitive mishaps if he confesses it all to the press. This fantasy elicits a severe tongue lashing from Jack. I must confess that the verbal beat downs and incendiary barbs in Race resonated with my frustrated mood and had the paradoxical effect of generating laughter—which I am not sure the playwright intended). It is likely that a play that deals with such a sensitive topic like race will elicit all kinds of unexpected defensive reactions from the audience.
Much of the excitement in Race is provided by the David Allen Grier (Henry) who plays Jack’s confident and vociferous law partner. Grier’s undeniably powerful stage presence is responsible for Race’s edginess, dramatic tension, and credibility. Even if you don’t always agree with Henry’s opinionated persona, it is nonetheless refreshing to see an empowered black freely speaking his mind. The play heats up when Grier authoritatively gets in the face of other characters, black and white.
Given his outstanding comedic talents—who could forget his hilarious antics in the hit television series, In living Color- it’s easy to overlook Grier’s veteran film and stage career. A graduate of the prestigious Yale School of Drama, Grier has starred in host of reputable works with appearances in A Soldier’s Play A Soldier’s Story, Dreamgirls, and The First (for which he received a Tony nomination).
It is not at all surprising that he has received a well-deserved Tony nomination for his compelling performance in Race. (Grier also struck me as very approachable, warm, and humble as he took the time to speak with fans backstage, accommodated two students who needed to interview a Broadway actor for a class, and the went outside to sign playbills).
The only female in this cast is the accomplished Kerry Washington who plays a juinor attorney recently hired to the firm. Her role becomes increasingly more profound as the play unfolds. Washington is somewhat meek in the beginning of the play and appears to be overwhelmed by the daunting male dyad that hired her. We learn that she is anything but weak and overwhelmed as the plot develops. I was very impressed with how skillfully she weaves her web around the men, injects herself into their psyches and ultimately exposes covert aspects of race (and gender) politics.
Washington is a highly accomplished actress with numerous films and awards to her credit. She appeared as the wife in the film Ray (2004) and was nominated for best actress for her role in the film, Last King of Scotland.. She also appeared in the Fantastic Four, and starred in tow critically acclaimed independent films, Our Song and the Dead Girl. What a pleasure to see such a talented African American actress, with roots in the Bronx, make it to the Broadway stage. (Like Grier, Washington was quite friendly and animated backstage).
Both Grier and Washington are amazing actors—and yes, they happen to be African American. They are inspiring to watch as they draw from their skills, innate talents and cultural leverage to animate and amplify Mamet’s Race. How I wish young African American men and women could see this play and perhaps meet with these two American heroes.
By the end of a fast 90 minutes, even with two intermissions, I was very happy that I raced to see Race. The show and cast left me energized, which was radically different than I came in. instead of asking why was I here I was now asking why was the show so short. That’s the power of good theatre!!!!
The Black Arts Whisperer (BAW) wants to publically thank New York’s best stage manager, Gillian Oliver, who was nothing short of amazing in facilitating our getting backstage and helping us meet with the cast and crew.
(And once again the BAW thanks G for your help with getting us backstage as well —your starpower follows you everywhere dude lol).
BOTTOM LINE: Even if you are in a weird or bad mood, race to see Race today it will distract, challenge, and charge you up. Race is is now playing at: The Ethel Barrymore Theater, 243 West 47th Street, Manhattan; (212) 239-6200. Running time: 1 hour 40 minutes. WITH: James Spader (Jack Lawson), David Alan Grier (Henry Brown), Kerry Washington (Susan) and Richard Thomas (Charles Strickland).
The Black Arts & Entertainment Whisperer (BAW)
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