David Alan Grier, Richard Thomas, Kerry Washington, James Spader. Photo: Robert J. Saferstein.
It’s Off to the Races: Black and White
By Lauren Yarger
A black woman accuses a rich white man of rape. Can a law firm with a black partner get him off? There’s a chance if his white partner can stage a dramatic defense; not so much so if the firm’s black junior associate sells him out to the prosecution to convict someone she’s sure must be guilty simply because he’s white.
Lots of prejudices, recognized and hidden, meet at the starting gate and David Mamet’s tightly written Broadway production, Race, is off.
Charles Strickland (Richard Thomas) is the accused who adamantly denies that the hotel room sexual encounter between him and the black woman crying rape was anything but consensual. Henry Brown (David Alan Grier), the firm’s African-American partner, doesn’t believe him and wants to pass on the case, but African-American associate Susan (Kerry Washington) makes a “mistake” that lists the firm as attorney of record and there’s no way out of it. Brown’s white partner Jack Lawson (James Spader) isn’t sure Strickland’s case is a lost cause, however, especially when he finds some crucial information that might prove his client’s innocence.
The dialogue is signature Mamet, though the ping-pong effect is controlled and, unlike most of the other female characters in Mamet’s plays, Susan gets to take a few volleys and is an integral part of the plot. Mamet directs his work somewhat awkwardly at times, as the characters seem to be walking around just for the sake of moving. Spader and Grier are terrific, however, with the fast pace, laugh-out-loud, bigotry-skewering funny lines and Washington holds her own as the victim/manipulator who really controls much of the case.
Thomas, however, is quite a disappointment, delivering a wooden performance that looks like an amateur failing at an audition. We’re told that Strickland is supposed to be a reserved individual, but Thomas’ characterization is so without emotion that we disengage, not caring whether the stiff-as-aboard guy is guilty or not and wondering whether he has an actual board nailed to his back under a suit that’s far too ill-fitting for someone with enough money to afford the best tailors (Tom Broecker, costume design).
Also disappointing is an interruption of the pace twice during the only 100 minutes of action, first by an intermission and second by a planned pause between scenes. Mamet would have given the play greater impact with an uninterrupted one-act.
The complaints pale in comparison to the snappy dialogue and thought-provoking subject matter, however, as long as you don’t buy into the “all-whites-think-this” or “all-blacks-think-that” predispositions of the characters.
Race plays at the Ethel Barrymore Theatre, 243 w. 47th St., NYC. Discounted tickets for friends of Masterworks may be purchased here. Make sure you indicate in the left column on the Givenik page that Masterwork Productions is the religious charity you wish to support.
Christians might also like to know:
• Language
• Sexual dialogue
By Lauren Yarger
A black woman accuses a rich white man of rape. Can a law firm with a black partner get him off? There’s a chance if his white partner can stage a dramatic defense; not so much so if the firm’s black junior associate sells him out to the prosecution to convict someone she’s sure must be guilty simply because he’s white.
Lots of prejudices, recognized and hidden, meet at the starting gate and David Mamet’s tightly written Broadway production, Race, is off.
Charles Strickland (Richard Thomas) is the accused who adamantly denies that the hotel room sexual encounter between him and the black woman crying rape was anything but consensual. Henry Brown (David Alan Grier), the firm’s African-American partner, doesn’t believe him and wants to pass on the case, but African-American associate Susan (Kerry Washington) makes a “mistake” that lists the firm as attorney of record and there’s no way out of it. Brown’s white partner Jack Lawson (James Spader) isn’t sure Strickland’s case is a lost cause, however, especially when he finds some crucial information that might prove his client’s innocence.
The dialogue is signature Mamet, though the ping-pong effect is controlled and, unlike most of the other female characters in Mamet’s plays, Susan gets to take a few volleys and is an integral part of the plot. Mamet directs his work somewhat awkwardly at times, as the characters seem to be walking around just for the sake of moving. Spader and Grier are terrific, however, with the fast pace, laugh-out-loud, bigotry-skewering funny lines and Washington holds her own as the victim/manipulator who really controls much of the case.
Thomas, however, is quite a disappointment, delivering a wooden performance that looks like an amateur failing at an audition. We’re told that Strickland is supposed to be a reserved individual, but Thomas’ characterization is so without emotion that we disengage, not caring whether the stiff-as-aboard guy is guilty or not and wondering whether he has an actual board nailed to his back under a suit that’s far too ill-fitting for someone with enough money to afford the best tailors (Tom Broecker, costume design).
Also disappointing is an interruption of the pace twice during the only 100 minutes of action, first by an intermission and second by a planned pause between scenes. Mamet would have given the play greater impact with an uninterrupted one-act.
The complaints pale in comparison to the snappy dialogue and thought-provoking subject matter, however, as long as you don’t buy into the “all-whites-think-this” or “all-blacks-think-that” predispositions of the characters.
Race plays at the Ethel Barrymore Theatre, 243 w. 47th St., NYC. Discounted tickets for friends of Masterworks may be purchased here. Make sure you indicate in the left column on the Givenik page that Masterwork Productions is the religious charity you wish to support.
Christians might also like to know:
• Language
• Sexual dialogue
The show posts a mature advisory.
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