After a week of seeing holiday shows and going to holiday parties, tonight was quite the change of pace. Carol Piersol and African American Repertory Theater are presenting David Mamet’s Race. The play is just what it sounds like — an exploration into the darker side, so to speak, of what white folks and black folks really think about people of the other race.

A wealthy white man, Charles (Joe Inscoe) is accused of raping a black woman. He wants to hire two law partners — one, Jack, who is white (Billy Christopher Maupin) and the other, Henry, who is black (d l [sic] Hopkins) as his defense team. They are assisted by Jack’s paralegal Susan (Katrinah Carol Lewis).

This is Piersol at her best, choosing a play that makes you think, makes you laugh, and makes you squirm. She and director Bill Patton have pulled together a group of Richmond’s most skillful and authentic performers to pull off this study of guilt and shame in the legal and moral senses.

The four actors play well off each other and maintain a fast-paced, emotional roller coaster; jumping from humor to anger effortlessly. Hopkins did seem to struggle at times in remembering some of his lines, but this did not weaken the dynamic created by the four actors.

David A. Ballas’ set was filled with red hues enhancing the incendiary nature of the dialogue. There were a couple of problems, such as a step that almost tripped up Lewis a couple of times in her high heels; and some visible seams in the floors and walls of this otherwise fashionable office. Sarah Grady’s costumes helped establish each character’s self-image, in a play where image is everything.

In addition to the strong theme, there is some very strong language throughout the one-act play (which made me a bit uncomfortable that my “assistant reviewer” Nick and his friend were also in attendance) but the message is a good one for mature teens on up.

You should race to see Race for its powerful performances and message.

Photo Gallery

Photos provided by African American Repertory Theater

The Cast

• Jack: Billy Christopher Maupin
• Hanry: d l [sic] Hopkins
• Susan: Katrinah Carol Lewis
• Charles: Joe Inscoe

The Crew

• Director: Bill Patton
• Stage Manager: Sarah Stepahin
• Assistant Stage Manager:
• Scenic Designer: David A Ballas
• Lighting Design: Michael Jarrett and Cody Richardson
• Costume Design: Sarah Grady
• Producer: Carol Piersol
• Associate Producer: Billy Christopher Maupin
• Scenic Charge: Kevin Johnson
• Scenic Painter: Christina Delli Santi

Disclaimer: African American Repertory Theater/Carol Piersol provided a complimentary media ticket to ShowBizRadio for this review.

I saw Carol Piersol and African American Repertory Theatre’s production of Race, directed by Bill Patton, on its opening night. The word race has several definitions. I wasn’t aware of the play before seeing it, so I was thinking of racing cars. I was wrong! It is about race as in ethnicity. This was a delightful surprise. Not saying there’s anything wrong with race cars, but it’s not exactly my thing. This is why I looked forward to the play when sitting in the audience: not a race car in sight.

I went to this production with my friend Greg. Greg and I are of different ethnicities, he is African-American and I am Caucasian. Being teenagers we waited until the last-minute to go in and sit down, but there was music playing to set the mood and the house appeared to be at almost capacity. The theater is a small black box setting, which is perfect for an up close audience experience.

The plot follows a Caucasian man accused of raping an African-American woman. He may or may not be a lawyer shopping for a firm to represent him in the way he sees fit. The subject of rape evolves into the subject of race. Everyone is exposed for their underlying, even subconscious, feelings.

Joe Inscoe assumes the role of Charles; a rich, white, racist, sexist man with ease. Katrinah Carol Lewis as Susan; the recently hired, just out of law school lawyer, was the most influential character to me. She added a twist of not only racial tension, but a sexist factor, both with strength and emotional vulnerability. In doing so, she portrayed her role magnificently. Charles and Susan display the tensest relationship even when not on stage together. He is the accused rapist, who finds her attractive, and she is a woman who thinks he is guilty based on his behavior and her own notions of race and sex.

Billy Christopher Maupin (Jack) and d l [sic] Hopkins (Henry), the two lawyers asked to take on Charles’ case, both create racial sensitivity in the play. Jack is Caucasian and Henry is African-American. These two have a bond that racial prejudice cannot break. While they show their own prejudices and strengths, they have a mutual respect, even as the dialogue reveals truths that are not often spoke. I give both praise for a worthy task.

Sometimes the actors had pauses between lines as if they did not know whose turn it was to speak and there was some stuttering of words that didn’t flow like natural speech, but that might have been opening night jitters and working out the kinks in front of a live audience.

Set design, by David Allan Ballas, converts the tiny stage into a large law office. Adding seats and books and a desk create a vivid picture. It sucks you into the office with the characters. Light design, by Michael Jarrett and Cody Richardson, make the stage “office bright,” yet almost a cold brightness. The window, in the set, is used brilliantly with lighting to show the passage of time in the day. They create marvelous effects, seamlessly.

If you are planning to go out with your family and children and are looking for a light-hearted show this holiday season, Race is not for you. There is much use of strong language. If you are looking for a GREAT performance that will leave you with a lot to think about and talk about for hours, as my friend Greg and I did, this is the show for you.

Photo Gallery

Photos provided by African American Repertory Theater

The Cast

• Jack: Billy Christopher Maupin
• Hanry: d l [sic] Hopkins
• Susan: Katrinah Carol Lewis
• Charles: Joe Inscoe

The Crew

• Director: Bill Patton
• Stage Manager: Sarah Stepahin
• Assistant Stage Manager:
• Scenic Designer: David A Ballas
• Lighting Design: Michael Jarrett and Cody Richardson
• Costume Design: Sarah Grady
• Producer: Carol Piersol
• Associate Producer: Billy Christopher Maupin
• Scenic Charge: Kevin Johnson
• Scenic Painter: Christina Delli Santi

Disclaimer: African American Repertory Theater/Carol Piersol provided a complimentary media ticket to ShowBizRadio for this review.

Once again my worlds as a teacher and reviewer have collided; as Carol Piersol presents Gidion’s Knot by Johnna Adams at HATTheatre (yes that’s a mouth full, and I will let the director explain the history in her director’s notes below!)

There are so many unexpected gut wrenching twists and turns in Gidion’s Knot that I really don’t want to unravel them for you, but rather allow you to experience them yourselves. Suffice it to say, the action takes place during a rather contentious parent-teacher conference. Fifth grade Teacher, Heather Clark (Laine Satterfield) and parent, Corryn Fell (Katrinah Carol Lewis) are scheduled to meet to discuss why Fell’s son Gidion was suspended from school.

Many, many issues are discussed and explored during this 80 minute, one-act play. Things start out awkward and nervous. As Fell says, “This doesn’t have to be adversarial, does it?” But, of course, in true to life form, it does. Teachers wonder, “What goes on with that child at home?” and parents wonder, “Why does that teacher hate my child and have it in for them?” Then there are societal questions such as where does a teachers’ job end? Are the students no longer their problem when they walk out the door? What is the parental responsibility in knowing what goes on in school? Are children innocent, fragile and pure and in need of protecting?

All Fell wants to do is get answers. She slowly pieces together the puzzle with little help from Clark. In an educational moment for me, Fell references a child’s project on a Gordian knot. I had to look this up to find that the Gordian Knot is a legend associated with Alexander the Great and is often used as a metaphor for an intractable problem. What an ingenious plot twist and play on words by author Johnna Adams in choosing the title!

Both actresses bring tremendous emotional power to their portrayals. What is most telling of their talent is that long silences contain just as much dramatic power and emotional energy, and speak volumes through what is not said.

Whether it be through angry exchanges, tears, or well-timed awkward humor that breaks the tension; every moment is spell-binding. This class is a class in advanced acting with your soul. Lewis especially has a way of reaching to her very core with a primal scream or whimper or gasping breath. Both actresses’ tears also come from their hearts and never feel contrived or overly dramatic.

The pair bring wonderful nuances to their characters as well. Whether it be the teacher’s OCD in constantly neatly arranging things, or the mother’s succinct and professorial manner of stating facts, both characters are true to life and believable.

The set itself is realistic as well. I have always enjoyed HATTheatre’s intimate space, but it works especially well as a classroom. Not only can you tell that Scenic Designer Daniel Allen had help from real classroom teachers (with a “Book Nook,” “Writer’s Block,” and desks in clusters) but the authenticity went as far as placing actual student desks and chairs for the first two rows in the audience. The clock on the wall is even set to the real-time of action in the play (starting at 2:45) adding a touch of realism to the dynamics of waiting, wanting to leave, etc.

Director Keri Wormald took a great work and 2 great actresses and created an amazing show. My ADHD never kicked in…I was drawn in for the entire 80 minutes. I always try to say something positive and some constructive criticism with every show, but there just really aren’t any negatives. This teacher gives this project an A+!

About the Play

Emerging playwright Johnna Adams has a unique voice and she’s written a play that has something important to say about public schools, creativity, violence and parent/teacher responsibility. As a 20+-year teaching veteran, I am fascinated by the core questions in this play. At parent-teacher conferences, the parents are wondering, “Why do you hate my child?” while the teachers are dying to ask, “What the hell is going on in your house to make your child behave this way?” These questions create natural adversaries if two groups that should, in theory, be working together for the good of children. I’d be interested to see what side our audience members fall down on after witnessing this sometimes-heated conference. If you’re sitting at a desk with a white board, please let us know your thoughts before you leave the theatre!

On a Personal Note

When Laine asked me tor ead this script, Richmond was embroiled in the Firehouse controversy and Time Stands Still, which she and I were both scheduled to work on, was looking more and more doubtful — at least as it had been originally envisioned. I am so pleased that Carol, Laine and I are working on another powerful and important show together, along with billy Christopher and Katrinah (who I love in everything she does). “Homeless” theatre is sometimes difficult, but this experience has been (dare I say it?) fun! Carol is a theatre-maker and I am proud and pleased to be working with her — especially this season. — Keri Wormald

The Cast

• Heather Clark: Laine Satterfield
• Corynn Fell: Katrinah Carol Lewis

The Crew

• Director: Keri Wormald
• Stage Manager: Reid Kirtley
• Assistant Stage Manager:
• Producer: Carol Piersol
• Associate Producer: Billy Christopher Maupin
• Scenic Designer: Daniel Allen
• Lighting Design: Megan Gilbert

Disclaimer: ShowBizradio was provided two complimentary media tickets for this review.