[NEohioPAL] Berko review: RACE @ Beck Center

[Roy Berko]

RACE, a must see at Beck
 
Roy Berko
(Member,
American Theatre Critics Association)
 
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David Mamet,
the Pulitzer Prize winning author, is noted for his ability to create vivid
images with his use of language.  His writing style is so distinct that it has been officially dubbed
“Mamet Speak.”  That fast paced,
direct, in-your-face flow of words, which often forces the actors to overlap
ideas, cut each other off, and use terms that grate on moralist’s ears, is clearly
displayed in his script, RACE, which is getting its regional premiere at Beck
Center.
 
RACE, which ran
on Broadway from 2009 to 2010 and featured James Spader, David Alan Grier, Kerry Washington, and Richard
Thomas, is a thought provoking, often incendiary piece which follows
three attorneys, two black and one white, who grapple with defending a wealthy
white man accused of raping a black woman.  As the story unfolds, the characters and the audience are
faced with examining their definitions, thoughts and feelings about race.  
 
Mamet has said
that the play is not only about race but “the lies we tell each other, and
ourselves, about the subject.”
 
Because of the
complex language and character development, a production of the script requires
not only a focused director, but a superb cast that works as a well oiled
unit.  Fortunately, Beck has the
creative and exacting Sarah May as the show’s director.  The award winning May not only
understands the requirements of how to make Mamet live, and the necessity of
finite timing, but how to work with actors to get the desired outcome.
 
The production
is also blessed with a fine cast.  Justin
Emeka,  an equity member and
professor of theater at Oberlin College, is compelling as Henry Brown, one of
the black attorneys.  He immerses
himself in the role, giving human reality to the part.   
 
Tom Woodward,
another equity actor, is at his finest as Jack Lawson, the white lawyer.  The character’s personal struggle
between being racially tolerant, and being unclear of his underlying
motivations, is well developed.  
 
Aungelique
Scott balances the duality of the role of Susan, a young newly hired member of
the law firm, who has both racial and personal agendas, which temper her
participation in the legal process.  Scott has the ability to distance herself, early on displaying a lack of
outward emotion in her eyes and body, that gives clues of what will come in the
startling ending of the play.  Her
emotional transition in the final scene is finely honed.
 
Brian Pedaci
does an acceptable job of portraying Charles Strickland, the wealthy white man
accused of raping a black woman.  Additional arrogance might have helped build a more conflicted real
person.  This could have helped
heighten the concluding scene.
 
Richard Gould’s
upscale law office set is well conceived, with small details and props creating
the required realism.   Jenniver Sparano’s costume designs are questionable.  Strickland’s suits and ties were
definitely not the Brooks Brothers quality that would be worn by a wealth man
and Susan’s clothes seemed questionable for an ivy league lawyer to be wearing.
 
As is Mamet’s
hallmark, the play’s conclusion, a twist of what might be expected, encourages
the audience to leave the theatre to discuss and dissect what they’ve just
experienced.
 
CAPSULE JUDGEMENT:  David Mamet’s RACE, under the fine directing hand of Sarah
May, gets an outstanding production at Beck!  It’s one of this season’s MUST SEE highlights.
 
RACE is scheduled to run
through  November 20 in the Studio
Theater at Beck Center for the Arts.  For tickets and information on the possibility of the run being
extended, call 216-521-2540.   
 
Roy Berko's blog, which contains theatre and dance reviews, as well as his consulting and publications information, can be found at http://royberko.info.  His reviews can also be found on www.coolcleveland.com and www.NeOHIOpal, while special features appear at http://artsamerica.org.
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