Presented by and at Primary Stages, in association with Philadelphia Theatre Company, 354 W. 45 St., NYC, April 2-22.
John Henry Redwood's drama, "No Niggers, No Jews, No Dogs," is as stark and startling as its title. Its realistic portrayal of the effect of bigotry on one family's well being is a history lesson well worth retelling. Hopefully, the controversial title of the play will not prevent it from getting on the marquees of regional theatres across the country, for its message and its impact are too important to ignore.
Redwood's play takes place on a backwoods porch in North Carolina circa 1949, but the story serves as a microcosm of the racial prejudice and social unrest that was prevalent during that time. The Cheeks family is a hard-working foursome whose simple lives are altered by the arrival of two men—a mild-mannered Jewish researcher and a relentlessly racist rapist. The peripheral presence of a figure in black adds an air of mystery to the otherwise earthbound tale. The family finds itself faced with decisions that threaten their togetherness and their trust in each other.
The attention to detail in script, performance, and production is very impressive, and all involved are to be commended for making this show a flawless piece of theatre. Director Israel Hicks has painted a handsome portrait of the people and the times, balancing tenderness, tension, humor, and horror with sensitivity and skill. The cast members—Charis M. Wilson, Rayme Cornell, Elizabeth Van Dyke, Marcus Naylor, Jack Aaron, and Adrienne Carter—offer indelible characterizations that instantly ingratiate them into viewers' hearts.
The design team has certainly given the characters a place to call home, including Michael Brown's watercolor setting, Christine Field's well-worn costumes, Ann G. Wrightson's shimmering lighting, and Eileen Tague's haunting sound.