Theater Review: The Whipping Man

A Fresh, Gripping Take on the Civil War, Slavery and Its Impact
By Lauren Yarger
A wounded confederate soldier drags himself into the burned-out remains of his once-elegant mansion to be cared for by his former slaves who try their best to scrounge up some food in the aftermath of burning and looting in the last days of the Civil War.

Sound familiar? Think again, because Matthew Lopez’ The Whipping Man, presented Off-Broadway by the Manhattan Theatre Club, has a fresh new take on how the war affected one family and on other things no longer easy to define like family and faith.

The soldier is Caleb (Jay Wilkison), a Jew (there's a twist), who arrives at his Virginia home after the South’s surrender to find his parents and all of the slaves have fled to safety, except for Simon (Andre Braugher), who stayed behind to protect the house and await the return of his wife and daughter who left with Caleb’s father. Joining them is another former slave, John (Andre Holland), who steals – he calls it “discovers” – food and other items while waiting for the master’s return. Caleb’s father, it seems, promised money to both John and Simon, and they hope to use it for a fresh start now that they are free.

The first order of business is amputating Caleb’s infected leg, however. He refuses to go to a hospital and insists the two men whom he trusts, also Jews (the twist continues), perform the surgery. While Caleb recovers and Simon plans the first Seder dinner the family has been able to hold in some time, John makes some discoveries about Caleb’s release from the army and his relationship with Simon’s daughter that bring into question the soldier’s character, his father’s honor and the nature of bad blood just under the surface of all the relationships.

Tensions are high and are rooted in past visits to “The Whipping Man,” a cruel sort of overseer to whom slaves were sent for discipline. John was disciplined once for learning how to read the Scriptures and for asking questions like how a Jew could own other Jews as slaves. Questions continue to crack in the present, as well, like what exactly does “family” mean if one member can own and sell the others? How can one allow, or perpetrate horrors against members of one’s own family and faith?

It’s engrossingly interesting as the familiar, yet unusual story of these three men, with wonderful performances directed by Doug Hughes, unfolds. John Lee Beatty’s gloomy set, dimly lighted by Ben Stanton, make visual the dark reality of the story. The only light comes during the Seder when the Scriptures about the slaves being freed in Egypt take on exciting new meaning in the face of the North’s victory in the War Between the States (and coincidentally, in the wake of revolution sweeping current-day Egypt). Baugher is compelling in this scene. His joy radiates.

The Whipping Man plays at NY City Center Stage I, 131 West 55th St., NYC, through April 10. Tickets are available by calling 212- 581-1212.

Christian might also like to know:
• Language
• The scene where Caleb’s leg is amputated contains blood and is graphic.