So why does our theatre remain stuck in its current quasi-nostalgic mindset and an ongoing obsession with South Africa? Perhaps because we use Africa as a proxy for our own genuine, but milder, set of social ills - Boston may have great strides against its racism, but it's still organized in the style of apartheid, with a vast shantytown in Roxbury. (Yes, I know there's an integrated "collegetown," too.) But why doesn't anyone write a play about that? Why has there never been a play about Boston apartheid? Instead we engage with it at one remove via South Africa. Which frankly is a form of virtual cultural colonialism, and of course distances us from the harsh necessity of grappling with our own issues (while assuaging our guilt for not doing so).Anyone got an answer for him?
Friday, January 8, 2010
A Very, Very Good Question...
...from Thomas Garvey, in his review of the Lyric Stage's production of Groundswell: