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Regional Reviews: Raleigh/Durham Confederates Also see Garrett's review of Shucked
This is the third of Morisseau's works to grace PlayMakers' stage. Both Detroit '67 and Skeleton Crew, under the keen leadership of Artistic Director Vivienne Benesch, played to acclaim. This play jumps between the stories of two Black women. One is Sara (an entertaining yet poignant Mengwe Wapimewah), who yearns to escape her bondage and fight for the Union during the U.S. Civil War. The other is Sandra, a tenured professor at an esteemed university (the always dependable Kathryn Hunter-Williams), who struggles with institutionalized racism. The rest of the cast serve as counterpoints in both narratives. There is Missy Sue (a stereotypical "Southern belle" with a touch of naughty) and Candice (a student who overcompensates for her white privilege), both performed hilariously over the top by Elizabeth Dye. The wonderful Tia James plays Luanne (house slave who is concerned that Sara may replace her as the master's favorite) and Jade (the "other" professor of color at the university who is concerned that Sandra may vote against her opportunity for tenure. A fine Kristofer Wilson portrays Sara's brother Abner, who has decided to run away and fight with the Union army, and Sandra's student, Malik, who question's his professor's "blackness" in not supporting him as he sees her support some of his white classmates. It is not a coincidence that both female leads share similar names and are both barren yet seen as motherly figures to their counterparts. Both also provide powerful monologues while flanked by the same explicit image of a Black slave woman nursing a white baby. Esteemed director Christopher Windom makes his Playmakers' debut and navigates well the fine line of satire and truth that Ms. Morisseau's play embraces. Scenic design by Lex Liang is simple but appropriate, allowing scene changes to flow with ease as the narrative switches time periods. Just as quickly as scenes change, actors must also be at the ready. Costumes designed by Pamela A. Bond appropriately evoke character and time and allow actors to disappear and reappear for each new time switch with ease. Lighting by Latrice Lovett and sound by Elton Bradman contribute to the overall esthetic. To some, the harsh realities, or even the humor, of the play may be hard to take. This reviewer noticed at least one couple walk out within five minutes of the play starting. Ms. Morisseau explains "Sometimes existing in the middle of racism, sexism, classism, and the insanity of it all is like living through a farce. The point is, it will be hard to tell the worlds apart because the shit is just being recycled over and over again." Implicit bias exists within all of us, as racism and white supremacy are embedded in the very foundation of the United States. To heal the wounds of the past and prevent them from shaping our future, we must engage in deep introspection to uncover the roots of both our conscious and unconscious beliefs. It may never get fully rooted out in our society, but Dominique Morisseau's play reminds us why we must keep pushing forward. Patrons, please note the show includes racial slurs, depictions of slavery, photographic nudity, and the use of a prop gun for those who may be sensitive. Confederates, presented by PlayMakers Repertory Company, runs through March 23, 2025, at the Paul Green Theatre at UNC's Center for Dramatic Art, 150 Country Club Road, Chapel Hill NC. For tickets and information, please visit www.playmakersrep.org or call 919-962-7529. Playwright: Dominique Morisseau Cast: |
