First staged in 1955, the play — in a new production at the Old Globe Theatre in San Diego — gives rise to enduring questions about racism in American theater.
Yes, I’m aware it was first done in 1955, but the play is only belatedly receiving its due. American theater is at long last ready to listen to a playwright who was calling outThe Broadway premiere, unconscionably delayed more than 60 years, happened last fall.
Childress focuses on the dynamics among the ensemble members. The Black performers, happy to be working on Broadway, don’t want to jeopardize a paycheck. But their tolerance for hypocrisy varies. The white company members are drawn with the same comic nuance. Judy , a recent graduate of Yale’s drama program who doesn’t know the difference between downstage and upstage, is liberal in her thinking but somewhat less progressive when she feels under attack. Bill , a busy character actor, insists he doesn’t have a prejudicial bone in his body, but don’t expect him to eat lunch with his Black cast mates.
Wiletta knows that’s not how any mother would act, but making this point threatens to unravel any notion that “Chaos in Belleville” is worth doing as written. Forced by her director to be more truthful, she has to choose between integrity and economic security — not just for herself but for everyone in the company.
This breadth of detail is captured in Turner Sonnenberg’s production with an admirable modesty that always puts the play first. This is a true ensemble effort. It was only toward the end that I began to fully appreciate the high caliber of the performances, most especially Morris’ sneakily subversive Sheldon, Isola’s arrogant Mr. Manners and, of course, Keller’s splendidly simmering Wiletta, who is compelled to say what no one in charge is ready to hear.
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