Jeremy O Harris's controversial new play is going to get people talking
, the Broadway sensation that at last arrives in London for a limited season. There was certainly some advance performative hoo-ha about the two. In myriad ways this drama, which examines the roles we play whether we intend to or not, is going to get people talking, at volume. It fizzes with provocative ideas, but it is also uneven and, at more than two hours without interval, excessively baggy.
The first scene opens on the MacGregor Plantation in the generic US Deep South, where black slave woman Kaneisha wiggles provocatively in front of laconic white overseer Mister Jim . Then the focus switches to white mistress Alana acting out her bedroom fantasies with her “mulatto” Phillip .
Harris touches skillfully on the issue of illicit sexual fantasy, of how what we desire might run entirely contrary to our “normal” world view, but he fails to convince us fully as to why at least two of these pairs might have thought such a high-risk gamble worth taking. “I read about this in theschool of repressed Englishmen, while Washington fumes in eloquent near silence until an unwieldy final outburst that offers no further insight.
Is there is a league table of trauma and pain, asks Harris? If so, do we get to position ourselves in it, or is that something only other people can do?
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