By David Gordon
In light of the recent presidential election, it was interesting to see how timely the Drama Department’s production of Howard Sackler’s 1967 play, “The Great White Hope,” was . Directed by Royston Coppenger, “Hope” is a fictionalization of the life of Jack Johnson, African-American heavyweight champ at the turn of the last century. It details Johnson’s (called “Jack Jefferson”) celebrity status, his arrest on trumped-up charges of the Mann Act and subsequent fleeing of the country, as well as his relationship with a white woman. The title comes from the Caucasian population’s outcry to try and find a “Great White Hope” to beat Johnson.
Coppenger’s lengthy production, starring Landeric Pierre in a stunning performance as Jack Jefferson, doesn’t shy away from the brutal realities of racism (and the sense that widely-spread hatred is apparent) today. Skillfully staged crowd scenes are scary reminders of news clips seen the world over: protesters with signs and banners spewing hatred at conventions and rallies.
Pierre gradually builds Jefferson from a blustery showman to a carefully calibrated explosive device. You don’t want to be near him when he goes off. Glorious are Lamar K. Cheston as Tick, Jack’s trainer, and Taquana Stanford as Clara, Jack’s one-time lover. Very effective are Paul Tiesler as Smitty, the slimy newspaperman, and Travis Youssef as the various great white hopes.Stalking around the entire space, Jeremy Benson delivers a predictably commanding and appropriately ugly performance as Cap’n Dan, the filthy racist fight promoter. Laura Henry (as Ellie Bachman, Jack’s white fiancée) is histrionic at points, though unquestionably heartfelt in others, especially her final moments in the second act, melodramatically written as they are.
Pei-Chi Su’s costumes are striking in their detail; Hemraj Budhram’s lighting is unobtrusive. Rychard Curtiss’ multimedia design is obtrusive; the still photographs work; the background movies, especially the one of two felines boxing, were distracting.
Coppenger explores his vision for the piece to the fullest extent. Starting with Stephanie Leke’s beautifully sung “Star Spangled Banner,” the production takes place inside a boxing ring and its surroundings (exquisitely designed by Sarah Reeb). Therefore, everything is turned into a match, from romantic interplay to a funeral, which makes use of a referee’s upside down microphone. Reeb and Coppenger’s approach to a script so cinematic in scope is fascinating.
The downside is that the production feels long, especially in the second half (which here is a combination of the script’s Acts Two and Three). In writing the play forty years ago, Sackler could have afforded to trim the original second act, much of which is the same idea reiterated ad nauseam. The momentum built up in the lightning-fast first act is never really regained and the play doesn’t end with the knockout punch they were hoping to achieve.
“The Great White Hope” is set in the early years of the 1900s. One hundred years later, the same kind of vehement racism as is exhibited onstage has not disappeared from society. It’s easy to equate some of Sackler’s characters and the ideas he explores with present-day counterparts. Just look at McCain/Palin rallies where taunts of “Kill Him!” referring to now-President-elect Obama, were spewed.
As historic as the recent election was, there are still those who harbor deeply rooted feelings of hatred, not just for racial groups, but for anyone different. This play is more relevant than ever.
Grade: B