David Mamet’s RACE continues to play strongly with another 8 performances to go before its close on March 17. There’s a wonderful feature this week on director John Vreeke in The Washington Blade. It’s a point of pride for us to be featured as a home theater for John along with Woolly Mammoth Theatre, where John is a company member, as he’s been a Resident Director with us throughout the past decade. John first started at Theater J in 2001 directing BORN GUILTY (which garnered Helen Hayes Award nominations the next year for Outstanding Direction and Outstanding Resident Production). John was back a year later with Ariel Dorfman’s DEATH AND THE MAIDEN and then directed our co-production with Woolly Mammoth of Tony Kushner’s HOMEBODY KABUL.
Jennifer Mendenhall and Rick Foucheux in Tony Kushner’s HOMEBODY/KABUL
All really important shows for us. So here’s the salute–and the long overdue feature–to John.
We take our conversation on Race over to Woolly to consider their latest production, Danai Gurira’s THE CONVERT.
Nancy Moricette as Jekesai/Ester and JeBen Early as Tamba in Danai Gurira’s THE CONVERT at Woolly Mammoth Theatre
A three hour and ten minute evening in three acts. How’d it fare by our student subscribers? How does it complement the month-long inquiry into Race and Class we’ve been convening on a weekly basis? Washington’s been providing quite the primer for us!
We’ll be staying close to the issue of Race for the next two weeks, while our production keeps running through March 17. But we’ll move onto the closely related issue of class divisions that separate and define us all the more in America. Last night students who’ve been writing about Mamet went to see David Lindsay-Abaire’s GOOD PEOPLE at Arena Stage. We can all see see why it’s one of the most popular and timely plays in the country. We can read their responses below. Congrats to Arena Stage on a widely hailed and wonderful production.
and this direct follow up from Represenative Norton’s office:
“This play is very profound, essentially because all of the characters are flawed. Twenty years ago, this play would have been perceived in a very different way. Why is it perceived this way today? The more equal you become, the more you will be seen just about like everyone else, even if there is still ingrained racism in this society. We will see the attitude in this extraordinary play reflected in policy makers, reflected in judges, reflected in the population at large. Even today, young people are far more likely to know who is a jerk than people of my age. So get ready for it.”
from Today’s front page of The New York Times
“Voting Law Decision Could Sharply Limit Scrutiny of Rules”
WASHINGTON — If the Supreme Court strikes down or otherwise guts a centerpiece of the Voting Rights Act, there will be far less scrutiny of thousands of decisions each year about redrawing district lines, moving or closing polling places, changing voting hours or imposing voter identification requirements in areas that have a history of disenfranchising minority voters, voting law experts say.
Also Awaiting a Supreme Court Decision:
Fisher v. University of Texas — The Supreme Court is going to decide whether colleges can consider race as one factor in the admissions process. The Supreme Court is likely to do away with or severely limit affirmative action as we know it, in part because Anthony Kennedy has previously opposed affirmative action.
See RACE, running through March 17 at Theater J.
Jimmy Walen and Michael Anthony Williams in RACE
Michael Anthony William, Jimmy Walen, and Leo Erickson in RACE
This discussion begins a multi-week discourse about the enduring relevance of the works and words of David Mamet. On Sunday, February 24 at 4:30 pm, the conversation continues with a panel on Mamet’s Jewish Identity
featuring The Forward‘s Ezra Glinter and Joshua Furst, author and frequent contributer toThe Forward.
The video here records the final panel session from our RACE IN AMERICA: WHERE ARE WE NOW? Symposium Weekend. Moderators: Ryan Rilette, Artistic Director of Round House Theatre Ari Roth, Artistic Director of Theater J
• Mitchell Hébert, Director of Round House Theatre’s production of Glengarry Glen Ross and 2012 Helen Hayes Award recipient for Outstanding Lead Actor in Theater J’s production of After the Fall
• Joy Zinoman, Director, Founding Artistic Director of Studio Theatre
• Javier Rivera, Assistant Professor Theatre/Music Theatre at American University
• KenYatta Rogers, Director, Educator, and Actor in Glengarry Glen Ross
• Jennifer Nelson, Writer/Director Founding Producing Director of African Continuum Theatre