From Past to Present: Examining Race and Ownership of History in Kwei-Armah’s Play

Kingsley Dann

11 months ago

From Past to Present: Examining Race and Ownership of History in Kwei-Armah’s Play

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…By Judah Olanisebee for TDPel Media.

A Thought-Provoking Examination of Race and History: Kwame Kwei-Armah’s Play at the Young Vic

Timeliness and Thought-Provocation

Kwame Kwei-Armah’s play, set against the backdrop of the US Supreme Court’s ruling on affirmative action, delves into the complex themes of race and the ownership of history.

In a challenging and engaging manner, the play invites audiences, regardless of their skin color, to confront their presumptions and prejudices.

Past and Present Collide

The play opens in 1959, as Beneatha, a young black woman from Chicago, relocates to a predominantly white neighborhood in Lagos with her Nigerian activist husband.

The scene then shifts to the present day, where an older Beneatha, now a dean of African American studies, is confronted by her mostly white colleagues who claim that race is no longer relevant.

Narratives and Arguments Unite

The play is divided into two distinct parts: the first primarily driven by narrative, and the second dominated by intense arguments.

While this structural choice may initially feel unbalanced, the two halves mirror each other with finesse.

The script delves into complex concepts such as the erasure of black history by colonialists, the evolving perception of victimhood among white individuals, and the fatigue experienced by younger generations regarding discussions on race.

The play manages to be both thrilling, resembling a political thriller at times, and humorously sharp, with witty exchanges that challenge established notions.

The biting remark from a lecturer dismissing the idea of contemplating privilege serves as an example.

Impressive Performances and Nuanced Characters

The British premiere, directed by Kwei-Armah himself at the Young Vic, showcases remarkable acting talent.

Cherrelle Skeete delivers a brilliant performance, convincingly aging her character by 60 years through subtle changes in her demeanor and commanding presence.

Newcomer Zackary Momoh captivates audiences with his natural charisma, portraying both Beneatha’s charismatic husband and a Nigerian petro-princeling in a later part of the play.

Sebastian Armesto skillfully portrays dual roles, from a gay CIA puppetmaster to a well-meaning academic prone to “whitesplaining.”

Crammed Information and Mouthpiece Characters

Given the density of information and historical context, some characters may serve as vehicles for exposition or espouse unpalatable attitudes.

The opening scene, in which Beneatha is condescendingly shown how to operate a light switch by an Alabama missionary, may appear overly obvious.

However, these moments contribute to the play’s overall design, with the light switch and a grotesque minstrel mask serving as clever motifs within Debbie Duru’s set design.

While Beneatha remains authoritative throughout, she primarily reacts to events until the final 15 minutes of the play.

The Context and Reception of the Play

Although prior knowledge of the play’s full backstory is not necessary for enjoyment, understanding its origins can provide additional insight.

Originally written for the US stage in 2013, the play serves as both a sequel and homage to Lorraine Hansberry’s influential 1959 drama, “A Raisin in the Sun,” featuring the characters of Beneatha and Joseph.

Additionally, it responds to Bruce Norris’ award-winning play, “Clybourne Park,” which explored themes related to Hansberry’s life and work.

Kwei-Armah’s play has been updated to address current culture wars, Trumpism, and critical race theory, finding relevance in today’s regressive and complex sociopolitical climate.

Conclusion: Demanding Engagement and Offering Provocative Rewards

Kwei-Armah’s play requires viewers to make accommodations and allowances for its challenging subject matter.

Yet, the thought-provoking and stimulating nature ofthe play makes it a rewarding experience.

By tackling issues of race and history, Kwei-Armah invites audiences to critically engage with their own perspectives and assumptions.

With its timely themes and finely crafted script, this production at the Young Vic offers a stimulating exploration of complex topics, leaving audiences with much to contemplate.

From Past to Present: Examining Race and Ownership of History in Kwei-Armah’s Play

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