‘Dutchman’ holds its shock value
In 1964, “Dutchman” opened off-Broadway, sending a seismic wave across the American landscape that reverberates to this day. Its author, LeRoi Jones, changed his name to Amiri Baraka after Malcolm X’s assassination in 1965, while “Dutchman” became perhaps the most revolutionary play ever to win an Obie Award.
Baraka riffs on the Book of Genesis and Wagner’s “Die Fliegende Hollander” to lure viewers into “Dutchman’s” clash of wills between Clay, a black man, and Lula, the white woman who baits him on the subway. Before it reaches its savage conclusion, “Dutchman” exposes painful American truths beneath political correctness, and they permanently puncture our brainpans.
For the record:
12:00 a.m. Feb. 15, 2006 For The Record
Los Angeles Times Wednesday February 15, 2006 Home Edition Main News Part A Page 2 National Desk 0 inches; 21 words Type of Material: Correction
‘Dutchman’ -- A theater review of “Dutchman” in Friday’s Calendar referred to Richard Wagner’s “Der Fliegende Hollander” as “Die Fliegende Hollander.”
In the blistering revival at the Garage Theatre in Long Beach, director Matthew Anderson brings “Dutchman” into this century. With designers David Ledger (set), Yammy Swoot (lighting) and mdla (sound), Anderson packs us into the play’s subway car setting, complete with rattling fluorescent lamps and train-track pilings.
The concept also gains from actors Kenny McClain and Amy-Louise Sebelius, who attack Baraka’s racial allegory with electrifying intensity. McClain is the more traditionally cast, but there is nothing imitative about his invisible progress from quiet politeness to hair-raising fury. The brassy Sebelius represents triumphant audacious rethinking. Instead of a sinuous Southern strumpet, Sebelius is an earth mother from hell, and her unpredictable power scrubs away any era specifics.
Preceding this shocking provocation, guest artists perform in a coffeehouse prologue of radical intent. The reviewed performance featured Abina Anthony-Davis, incisively reading Baraka’s essay “The Revolutionary Theatre,” and singer Mike Barnet, whose protest anthems have astounding force. Meanwhile, “Dutchman” remains as upsettingly trenchant as ever. Steel yourselves, and go.
*
‘Dutchman’
Where: Garage Theatre, 251 E. 7th St., Long Beach
When: 8 p.m. Thursdays through Saturdays
Ends: March 18
Price: $15
Contact: (562) 433-8337
Running time: 1 hour, 30 minutes
The biggest entertainment stories
Get our big stories about Hollywood, film, television, music, arts, culture and more right in your inbox as soon as they publish.
You may occasionally receive promotional content from the Los Angeles Times.
