NEWS JUNKIE POST
Apr 12, 2010 at 4:10 pm“Race” Dances With The National Albatross on Broadway
David Mamet’s no stranger to the social tinderbox. In his latest play, “Race” which continues its Broadway run through June 13, the provocative playwright/director tackles his most incendiary four letter word yet. While the play, which offers the audience both mystery and Mamet’s signature word-play, doesn’t rise to the level of masterpieces like “Glengarry Glen Ross” and “American Buffalo,” it is a compelling theatrical experience.
The quick set up: Charles Strickland– played with tricky desperation and defiance by Richard Thomas– is a rich, powerful guy in a big vat of hot water, ready to boil over as he is accused of raping a woman who turns out to be his mistress. She’s also African American. After a blow-up with his old attorney, Strickland seeks new representation with Jack Lawson (James Spader) and Henry Brown(David Alan Grier).
Tension permeates the staid law firm conference room, as Strickland bobs and weaves around Brown, an African American who nutshells Strickland’s concerns: “Do I hate white folks, is that your question? Do all black people hate whites? Let me put your mind at rest–you bet we do.” The audience enjoys uncomfortable laughter at this and other lines. But there are all kinds of weighty questions floating around. Is Strickland being accused because he’s white or because the woman is black? Or is it because he is wealthy and well known?
And is he guilty? That question doesn’t seem to concern his lawyers as much as it might the audience. But it hangs throughout the play.
Spader has the most developed role and makes it ever more intriguing with his exquisite nuanced performance. There are secrets and layers to Lawson that are missing in the other characters; and the actor, who’s played his share of dark guys and has an Emmy for his delicious years as a slick lawyer on “The Practice” and “Boston Legal,” unveils them in a beautifully timed dramatic dance. Grier’s Brown isn’t as complex, but the actor, nimble with word-play, is a deft sparring partner for both Spader and Thomas. The only weak link in this theatrical chain is Kerry Washington as the young African American associate, Susan. A foil of sorts for all three men, Susan isn’t as fully realized as a character as she could be, and Washington doesn’t have the stage chops to fill in the missing dimension herself. This is unfortunate as “Race” also dances around sex and sexism.
Mamet puts his hands around the national albatross and grapples with it; but he doesn’t release its grip on our collective psyche. No play can do that. What “Race” does is pose a lot of uncomfortable questions. Most of the answers are left for the audience to discover. So if you want a neat package, by play’s end, “Race” isn’t your ticket. But for those ready to confront ugly truths and boldly dance outside the comfort zone, Mamet delivers a play you’ll likely be talking about long after you leave the theatre.
“Race” written and directed by David Mamet at the Barrymore Theatre, 243 W. 47th Street, New York City, through June 13. For tickets: (212) 239-6200 or Telecharge.com. Discount tickets may also be available at the TKTS booth in Times Square ( available day of show only).
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I have seen Mamet’s Race several times and really find the show to be interesting and entertaining. As you mentioned, James Spader gives a terrific performance and David Alan Grier is very very good as well. It really is a delight to watch these very talented actors on the stage. I was not too sure about going to a show with two non-stage actors (Spader and Washington) in it, but Spader blew me away with his performance. For the life of me I can’t figure out why he has not been doing stage work throughout his career; he is a natural on the stage and has tremendous stage presence. I only hope that both he and David Alan Grier do more stage work in the coming years, and if they do I for certain will be in line to buy a ticket.