Mary the Borderstan Movie Fan’s column on movies runs every two weeks. This week, however, Mary reviews a play that is running at Woolly Mammoth Theatre Company: Clybourne Park. For more information about the play and how the theme and plot relate to the Logan Circle-Shaw area, see the Friday post, “Woolly Mammoth’s ‘Clybourne Park’ Looks at Gentrification.” Mary and her husband have resided in Dupont-Logan since the 1990s. She is a retired professor of English and association executive.
Note on special ticket promotion: Woolly Mammoth is running a special promotion with $30 tickets for Borderstan readers. When purchasing tickets use the code 788. Go to woollymammoth.net for more information and tickets.
Clybourne Park cleverly juxtaposes a day in 1959 when a white family is moving out with a day in 2009 when another white family is preparing to move into a house in a near north suburb of Chicago.
The first family has sold the house to a black family (possibly the Younger family from Lorraine Hansberry’s play, A Raisin in the Sun), while the second white family is redesigning the same house to suit their upscale notions, though its neighborhood is now mainly black. They are planning a Koi pond in the back yard.
In the first act, a couple of neighbors come in to argue against the sale as devaluing all the property in the area. Ignoring the force of a tragedy that has happened in the house, they accuse the white couple of profiteering, disregarding community mores, and opening up the neighborhood to “unfortunate” influences.
The second act, 50 years later, features arguments about how the new couple’s yuppie renovation will destroy the memories that black families have made for themselves in the neighborhood.
The play pits a black couple against a white couple in each act. In the first, black woman and her working-class husband, who has come to pick her up from work, is a servant; in the second, a younger and more affluent black couple is played by the same actors.
They are more articulate than the black couple in the first act, and they make their arguments against turning the house into a McMansion from positions of equality with the white couple who have bought the house. The tables have turned.
As drama Bruce Norris’ play works very well, and the production at the Wooly Mammoth Theatre on D Street, near the Chinatown Metro, is excellent.
However, I thought the first act, which sets up the problem of block busting had a bit too much broad satire, played too broadly.