For tickets, call the iTheatre Collaborative box office at 60 or order tickets online at Grade: AĬritic Chris Curcio has been writing about the theater and performing arts since 1968. “Race” is quite a play but it’s even more impressive in the richly acted and artfully staged iTheatre Collaborative production that continues through November 19. A wonderful set conveys the well-to-do practice’s office perfectly. Only Walt Pedano’s Charles Strickland, the accused, isn’t up to the others acting acumen as he fails to make this guy stand out. Why did they hire her? Was she given the opportunity because she is black? The answers are revealing. She’s attractive, observes thoughtfully initially, and then explodes with rage at the two partners, their biases, and their opinionated feelings. These intellectually alive guys were on the cutting edge as they forged a successful partnership but now both are set in their ways and thinking even though they recognize their mindless biases.Īlso magnificent is Nicole Belit as Susan, the newest lawyer, trying to fit into the other guys established relationship. Start with the commandingly dominate portrayals of Christopher Haines as white lawyer Jack Lawson, and Mike Traylor as black lawyer Henry Brown. The fine production does justice to this challenging play. It’s quite a discussion of critical ideas we confront daily. Powerhouse Theatre Collaborative is a professionally- managed community theatre and the Resident Theatre Company of the Belknap Mill and the Colonial. The play ends without resolving the issues so you’ll leave discussing, thinking, and wondering just how open minded and fair we all are. How much of the acceptance is obligatory and how much comes from a real understanding of the issues is at the play’s heart. One of the lawyers, a brilliant young black woman, initially observes the older lawyers embroiled in a discussion of the accused man’s guilt or innocence.Īs the three then fight, discuss, debate, and sort out investigative facts, racial biases emerge even among these lawyers who understand and respect the importance of acceptance and equality. The script twists and turns as three lawyers – one white, and two black – defend a white guy charged with raping a black woman. Clair’s dynamic direction instills the necessary tension into the vivid and explosive racial discussions. Three stunningly believable acting performances take charge of the play and Charles St. The sharp production answers that baseless concern. I wondered if iTheatre Collaborative could muster the fine acting mandated and secure the strong directorial touch necessary to stage an effective version. I saw “Race” on Broadway in the author’s perfect original staging with an impressive cast. According to Mamet, “Race is the most incendiary topic in this country.” An intensely alive iTheatre Collaborative production, staged in conjunction with ASU West, marks the play’s impressive local premiere. The original idea was to install a multi-panel video wall in PSU’s Market 123 building. ITheatre Collaborative, Kax Stage, Herberger Theater Centerĭavid Mamet’s “Race” is a powerful statement on racial intolerance, bigotry, ridiculous stereotypes, and biases. With the goal of creating a high-tech collaboration space for students, researchers, and community stakeholders to come together, Portland State University created a Decision Theater using a custom installation of seven Mondopads. POWERFUL “RACE” IS INTENSELY ALIVE IN iTHEATRE STAGING Replete with interviews from the initial Pig Iron collaborators on subjects of writing, directing, choreographing, teaching, and developing a pedagogical platform that supports devised theatre.This review aired on KBAQ November 7, 2011 Kuharski and three devised plays by Theatre of Witness, Pig Iron, and The Riot Group. This book explores the impact of devised theatre on social practice and analyzes Goat Island’s use of Pina Bausch’s gestural movement, Augusto Boal’s Theatre of the Oppressed in Giving Voice, Anna Deavere Smith’s devised envelope for Verbatim Theatre, The Tectonic Theatre Project’s moment work, Teya Sepinuck’s Theatre of Witness, Pig Iron’s use of Lecoq mime to build complex physical theatre scripts, and The Riot Group’s musical arrangement of collaborative devised text. This book provides a fascinating and concise history of devised theatre practice.Īs both a founding member of Philadelphia’s Pig Iron Theater Company and a Professor, Telory Arendell begins this journey with a brief history of Joan Littlewood’s Theatre Workshop and Living Newspapers through Brecht’s Berliner Ensemble and Joe Chaikin’s Open Theatre to the racially inflected commentary of Luis Valdez’s Teatro Campesino and Ariane Mnouchkine’s collaboration with Théâtre de Soleil.
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