Dutchman - A Discomforting Enlightenment
Unsettling parallels are drawn between Black Lives Matter and the Civil Rights Movement
4 stars
The playwright Amiri Baraka, a famous American Civil Rights activist known by the name of LeRoi Jones, wrote and produced Dutchman in 1964, a time when African Americans were not afforded the same constitutional rights as white people. Racial segregation, discrimination and violence were commonplace and were Baraka’s inspiration for this tale. Today, unjustified racial violence, in particular towards black men, is consistently in the headlines, making this story as relevant as ever.
Set in a subway carriage, Dutchman follows the story of two strangers – Lula, an eccentric, older white woman, and Clay, an unassuming, young black man – on a journey across New York. The potential lovers seem to echo the familiar trope of ‘forbidden’ biracial romance between a white female and a black male that is most notably explored in Shakespeare’s Othello, with several key distinctions. Lula is the aggressor: she boards the train eating an apple and coquettishly moves about the carriage to initiate a flirtatious conversation with Clay after accusing him of staring at her legs. Although he is at first shocked by Lula’s advances, Clay quickly becomes intrigued when she makes several correct assumptions about who he is, based on her stereotype of black men.
The dance of seduction continues to a horrifying climax, suggesting that the true casualty of the biracial sexual struggle, is the black man. Baraka’s use of symbolism is subtle but effective. The setting of a moving train highlights the continuous presence of the racial issues discussed – especially ironic given the time since it was first performed. The apples Lula eats and offers to Clay liken her to Eve, committing the original sin and causing human suffering.
Both protagonists have respective outbursts which are noticed by the other passengers on the train. The contrast between their reaction of mild amusement at Lula’s verbal tirade and abject fear and revulsion at Clay’s defensive monologue is starkly reminiscent of the systematic criminalisation of black men in media and society.
Clay is played by James Barnes, whose inconsistent New Jersey accent does not do justice to his otherwise powerfully emotive performance. Cheska Hill-Wood’s maddeningly consummate portrayal of Lula incites the perfect level of shock, embarrassment and unease.
Lula freely and frequently uses derogatory terms such as ‘n****’, which achieve the desired effect of horror. However, archaic references such as ‘Uncle Tom’ (someone subservient keen to win the approval of white people) and ‘Charlie Brown’ are a little out of reach for the modern audience. By no means could this play be described as easy to watch but since when have discussions about racism been easy? The director, Kaitlin Argeaux commented that “to not see colour” is a privilege afforded mainly to Caucasians”, Dutchman is a distressing but crucial performance that renders seeing and confronting colour unavoidable.
With strong sexual imagery, violence and an unexpected finale, Dutchman is sure to keep you entertained. It’s a little like watching a horror movie - you’re scared and uncomfortable but you also don’t want it to end. Be ready to have your preconceptions about race and identity questioned.
