Three shows I saw on a recent visit to New York shared a common central theme examining the effect of dominant society's gaze on outside groups, and although each show looks at different manifestations of dominant groups' gaze, all three are among the finest new theater of the season.
The most complex examination of this theme is in Dominque Morisseau's outstanding new play "CONFEDERATES" at Signature Theatre. In this intricately layered and expertly produced play, Ms. Morisseau focuses attention on two African American women (Sara and Sandra) in two alternating settings- in respectively, a Civil War era Southern plantation and in the faculty of a contemporary, primarily white University. Many parallels are drawn between the treatment of these two central characters in these very different settings, but most fascinating to me was the exploration of the dominant society's (white and male) negative impact on characters who would seem to be natural allies of Sara and Sandra, but who act in ways that undermine them. The actors playing characters other than Sara and Sandra have counterpart characters they play in the two time periods depicted (distinctions that are beautifully rendered in on stage costume changes) and comparing and contrasting these counterpart characters helps one unlock some of the themes at work in the play. I had to sit with "Confederates" for a few days to fully appreciate the powerful impact of the show, which is a testament to the depth and complexity of the writing.
One of the things I most admire about Ms. Morisseau's work is that in each play she tackles a new form, structure or style that makes each of her plays distinct from their predecessors. This makes me especially eager to see what will next emerge from this supremely gifted playwright.
Dominant society's (white and male again) subjugation of woman, ostensibly for their "protection," is also explored in Shaina Taub's entertaining and expertly cast new musical "SUFFS" receiving its world premiere at the Public Theater. Sadly, going into the show I had little knowledge beyond the basics of the U.S. woman's suffrage movement of the early 20th Century, which says a great deal about the priorities of our educational system and my own failures to supplement my formal education through independent learning. Through a combination of expertly drawn characters, tuneful songs and intelligently crafted lyrics, I was thoroughly entertained while being educated about the inner workings, drive, limitations and failings of the suffrage movement, and the impact of dominant male society (skillfully portrayed by the talented and diverse all female cast) on the successes and failures of the movement and the schisms that developed within that movement. I was particularly intrigued by noting many of the tensions and tactics experienced by the suffrage movement as models for the civil rights and LGBT+ movements in later eras.
New musicals are extremely difficult to successfully pull off. For me, Ms. Taub and her collaborators have pulled this one off and then some, creating what for me is the most successful new musical since "Hamilton" emerged from the Public over 7 years ago.
Perhaps the most direct examination of dominant society's (white and male yet again) gaze was in the recently closed Public Theater production of Lloyd Suh's "THE CHINESE LADY," inspired by the true story of the first Chinese woman brought to America who was put on display for paying audiences throughout America. Expertly staged and impeccably acted by Shannon Tyo and Daniel Isaac, the play explores the corrosive impact of dominant society's literal and metaphorical gaze on the two characters depicted- Afong Moy (Shannon Tyo), the "Chinese Lady" put on display (Shannon Tyo) and her interpreter Atung (Daniel Isaac). The final 20 minutes of the play suffers from a narrative didacticism that is at odds with the play up to that point, but it nevertheless provides the throughline to the unfortunate instances of anti-Asian racism we continue to experience in our current day.
The three of the above mentioned plays proved to be the highlights of my recent theatergoing in New York City. I also enjoyed Bryna Turner's comedy "AT THE WEDDING" at LCT3, which was largely powered by the tour de force comedic performance of the lead character played by Mary Wiseman. Fine acting by Laurence Fishburne and Sam Rockwell similarly provide some incentive to see the Broadway revival of David Mamet's "AMERICAN BUFFALO" but sadly the play feels dated and underwhelming, although I confess to finding that to be the case for me with all of Mamet's theatrical output. I would also recommend skipping the new Broadway musical "PARADISE SQUARE," which is unduly overwrought and provides only a few moments of excitement via its Bill T. Jones led choreography and an incandescent lead performance by Joaquina Kalukango. Finally, the less said the better about Roundabout's Broadway production of Noah Haidle's insipid and depth-less new play "BIRTHDAY CANDLES."
