Race, the infernal powder keg that has added an extra often discriminatory dimension to human interaction since the time of the ancients. It’s been so much of an issue that it’s second only to religion in stirring up bloodshed or malevolence through the ages.
These days, the rules have changed but some would say not the thinking. Civil rights and common decency have moved humanity to the space where all, or most, can co-exist, but that hasn’t wiped the slate, nor the experiences and resultant prejudices that collectively permeate all people, clean.
Excuse me if it seems I’m thinking out loud, but just that in itself was David Mamet’s intent. Not many achieve this as masterfully as this Pulitzer prize winner’s ‘Race’, recently staged at the NTN with Aldo Behrens and Joseph Keamogetsi Molapong at the helm.
The story tells of the panic that ensues when an exceedingly wealthy white man is accused of raping a black woman. He seeks counsel in the chambers of a formidable black and white legal duo, who at first are reluctant to take up the case, because this is not just ‘another’ rape case.
They’re both very well aware that race will be both a defining and damning factor in this case. A white jury might assess a judgment of innocence as treason, and a dominant black jury could easily assess an innocent judgment as racism.
The sharp tongued lawyers are portrayed masterfully by veteran actors David Ndjavera (Henry Brown) and Yanna Smith (Jacky Lawson), whose experience in the murky legal seas have left them with zero qualms about stating things as graphic as they are.
Their dialogue is fast paced, impassioned and controversial. Henry, an accidental expert on the realities of race relations, human nature and the law, wants nothing to do with the case at first, but tackles it and everyone unabashedly once they were committed.
Jacky Lawson is a great counter weight to Brown, she helps the firm navigate the case, but shows another dimension to the race and sex wrangle that she masks with a detached attitude of professionalism and a twisted logic that she had better throughly research any new hires. Especially because a beautiful young black woman poses a huge risk of alleging racism or sexual harassment if ever she may fall out with the firm. Which makes sense, if you’re a prejudice sex pest.
The jokes and jabs were a mix of sexual and ethnic profanity in combinations that would leave even the most well travelled and deviously creative sailor reaching for his rum. Told with comedic inflection and pace, the narrative helps you chuckle that lump back down your throat.
Their new legal secretary, Susan, adds an interesting dimension to the work. Her presence as the only young black woman in the firm allows Mamet to further dissect the politics of race and sex.
This character adds a tremendous gravity to the piece that helps bring the the larger than life personalities of the fast talking lawyers to reality. Senga Brockerhoff offers a subtle, but layered performance. Bringing to stage Susan’s inner turmoil, yet never eluding to the audience her character’s exact intent, which many would question after some questionable mishaps, they end up being committed to defending the accused.
Morne Botha rounds out the cast as the murky man in question, the monied Charles Strickland. He insists that the tryst was consensual, but as his past is dredged up, his views on race come to the fore almost conjuring up the image of a racist predator, whose narcissistic superiority justifies him toying with his prey.
Botha is at home in this cast of consummate professionals and makes for a properly villainous Strickland without having to try to hard.
‘Race’ was a joy to behold and made for much critical discussion. The chemistry between the actors and the directors was tangible and shows that Namibian theatre can comfortably take on heady material such as this.
Set design could have been more. More anything really, but given the subject matter, this is secondary as the overlapping dialogue held most of your attention.
Over all, ‘Race’ was a success. Not only the production, but its intent to stir thought and introspection of society as a whole.
Yet another commendable effort by these theatre stalwarts and this critic can do none but applaud.
Brava!
