Laurence Boswell continues his rummage through the forest floor of dramatic humus on his quest for theatrical truffles with what appears to be an uncanny knack of nosing out forgotten delights. I had not, I confess, previously come across Alice Childress, an African American actress-turned-writer who died in 1994 and the reason for that ignorance perhaps lies in a neglect that sits at the heart of this play.
The setting is the rehearsal room of a new play that erstwhile film director, Al Manners (Jonathan Cullen) wants to do because of its social worth in commenting on the state of race relations. The play within a play format cleverly allows the writer to juxtapose reality with art and prejudice. Wiletta Mayer (Tanya Moodie) is an actress in 1950s America who is tired of playing stereotypical ‘mamas’ and ‘Jemimas’, which she sees as little more than playing the game of humouring white folk. ‘Damn if I wear another bandana’, she declares, suppressing a volcano of unrealized, crushed ambition. Again, in an almost discarded sentence of searing perception that sums up a catalogue of artistic cowardice, she observes, ‘White folk can’t stand unhappy negroes’. Rehearsals eventually break down when Wiletta can no longer stomach the compromise to truth that her character must swallow. The well-meaning accommodation of the director is ultimately shown to be an intellectually flaccid cop-out.
Bravely, as it must have been in 1955, the play unravels some of the prejudices and preconceptions that bedevilled race relations in 50s America. Like many a notable work it plays out society’s tensions in the (unfulfilled) life of an individual. Yet this is no blunt instrument to bash society’s sensibilities. The play works as a piece of theatre and not mere polemic by observing and playing on a web of sensitivities, which are all cleverly and janglingly plucked in Mr Boswell’s detailed direction. In this he is served by a cast, all of whom have brought their ‘A’ game to the party. It is to his credit that he allows each actor to shine without unbalancing the whole.
Of particular joy is the performance of Ms Moodie who has that rare actor’s gift of being able to use both face and body to instantly and vividly reflect her thoughts and emotions. It is a performance of swish and grace, spontaneous exuberance, anger and sadness – in short one to be seen and savoured. It is a performance that perfectly serves the playwright.
This is passionate and sensitive writing, which in the hands of Mr Boswell has been given a production to match. Although over half a century on, the unpalatable issues of this play are, sadly, still with us, like gobbets of phlegm that stick to the sanitary ware and refuse to be washed away. This revival is a timely reminder that even in an age more open to its message and less openly prejudiced, much still needs to be done. ★★★★★ Graham Wyles 15th November 2016
