At first glance, Race, a new play written and directed by David Mamet, has the key ingredients for a successful run on Broadway. It has famous stars and is a wonderfully literate play written by one of the foremost playwrights of our time. However, Race, like other Mamet works, may make its audience uncomfortable.
The drama involves a legal firm, led by Jack Lawson (James Spader from TV's "Boston Legal") and Henry Brown (played by David Alan Grier of TV's "In Living Color.") The two have been asked to represent a wealthy white man accused of raping a young black woman. Although Brown is reluctant to handle the case, their new legal assistant Susan's ineptitude forces them into it when she requests documents from the court. Richard Thomas portrays the accused rapist, Charles Strickland, and Kerry Washington makes her Broadway debut as Susan.
The play might have been more effective in the hands of a different director. Mamet has Grier and Washington speak in phrases, like children poorly reading poetry. Grier seems to be angry throughout the entire play. Washington begins a bit quietly, but then she, too, raises her voice an octave where it stays for the remainder of the show.
Thomas appears uncomfortable and always looks as if he is mid-grin, almost ashamed and apologetic but awkward to watch. He usually gives a fine performance but is disappointing here because his character is too simple.
Only Spader is worth the price of admission. He seems natural which is especially difficult given Mamet's propensity for rapid-fire dialogue. Through his lips, the dialogue flows and the beautiful, though difficult, phrasing appears comfortable.
There are several serious themes in Race. Brown is vociferously opposed to hiring Susan, and, in fact, is downright belligerent towards her. Since both are black, his attitude can only be construed as misogynistic, another popular motif in Mamet's work. The playwright likens the courtroom to a theater and the jury to an audience wanting to be surprised. Lawson suggests that jurors can be emotionally manipulated and he plans to do so to get his client off.
Easily one of the most erudite playwrights of our time, Mamet is not easily accessible. His dialogue requires rapt attention. Although the play is only 90 minutes, it requires the kind of attention that is difficult for a generation captivated by tweets and 45 second commercials.
Mamet writes above the heads of the average playgoer who wants to relax and be entertained and who doesn't want to be faced with his own prejudices or would rather listen to music instead.
Race deals with the nature of law, especially the theatricality of it and the intangible nuances of dealing with racial issues, especially in the workplace. Perhaps Mamet's design is to get the audience thinking. His drama makes for intelligent theater, inviting spirited conversations afterwards. When the play is over, the dialogue continues. However, some theatergoers may be uncomfortable conversing about their own attitudes about race relations and prejudice.
