"If they change for us, let them do it not out of indulgence, but from terror."
Performing at the Classical Theatre of Harlem, the extremely talented young cast of Jean Genet's 1959 play "The Blacks: A Clown Show" display a verve and fearlessness with this very difficult play that is raw and thrilling to watch.
In Genet's play -- allegedly a response to French racism with respect to North Africa -- a troupe of black actors reenact the rape and murder of a white woman before a court of black actors elaborately masked as royalty, who, in fantastic masks designed by Anne Lommel (who also designed the circus-like set), appear above and behind the audience.
Arrayed like circus performers, the troupe on stage seesaw between angry confrontations with the royals and interactions with the audience by means of wide, curved runway running through the middle of the space. Much of the action takes place on this runway, while the audience -- in swivel chairs to avoid strained necks -- follow the action going on around and sometimes even in-between them.
During the two intermissionless hours (it is a bit too long, but this is theater of cruelty, after all), the terrific 13-member cast does everything possible to engage, confront and even entertain the audience in utterly fearless fashion. In fact, the members walked the line so intrepidly that, at times, you really wondered if the play had stopped and their real feelings had spilled over into the proceedings. (Even after, you're still not sure.) In particular, the charismatic Ty Jones makes a strong anchor to the proceedings, while the razor-sharp improv skills of both Maechi Aharanwa and J. Kyle Manzay are used to great effect.
Everything technically about this production matches the excellence onstage, from Kimberly Glennon's costumes and Trisha Jeffrey's choreography to the lighting by Colin D. Young and the wonderful use of music and sound by Stefan James.
Directed with fire and precision by Christopher McElroen, the play is a must-see for actors, directors or playwrights who want to witness what true social and political theater can and should be.