Remember the story of a hotel maid’s alleged assault by a businessman at a chic hotel? Before the disturbing case was dismissed, it made international headlines. And long afterwards, accusations lingered in the court of public opinion. Race, a tense drama by the Pulitzer Prize-winning playwright David Mamet, concerns a similar subject. It premiered on Broadway in 2009, preceding the New York v. Strauss-Kahn scandal by over a year. Whether Mamet was prophetic or the tale all too common, Race offers a timely, provocative view on power and prejudice.
Race takes place in an attorney’s office. Partners Jack and Henry and their associate Susan debate whether to take on the case of Charles Strickland, a wealthy, middle-aged, white man accused of a terrible crime against a young, black woman. As with most Mamet plays, the audience gets thrown into the ring right away. The writer of Glengarry Glen Ross does not pull any punches, and his script comes out swinging in an aggressive exploration of racial stereotypes, social psychology and the criminal justice system. As Henry says, “The Law, Mr. Strickland, is not an exercise in metaphysics, but an alley fight.”
Amiee Turner, the Producing Artistic Director of Ocean State Theatre Company, helms the current production of Race. She aims to stage shows that trigger thoughtful discussion, as she hopes this one will. Rather than define the play’s message on the issue of racial relations, she notes, “I think Mamet’s brilliance is to see all sides of it, and to present it in a very objective manner. And therefore it forces the audience to think about it and make their own decisions about what the piece means.”
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