Centerstage’s Timeless Confrontation of Racial Censorship in Theatre

In June of 2020, in the wake of the rising Black Lives Matter movement, more than 300 theater artists published the statement, “We See You, White American Theater.” This statement tore into the long-established racism within the theater industry: “Our love of theater has often meant surviving an industry-wide culture of fear poisoned by racism [...] Achieve cultural competency in us. Address your vocabulary, behavior, implicit bias, and lack of understanding. We are the experts, not the accessory.” The letter laid out a clear list of changes that needed to be made, highlighting the inadequate worker rights and representation. 65 years before “We See You” was published, playwright Alice Childress addressed near-identical issues through Trouble in Mind, yet the systemic racism of Broadway prevented its production and mainstream success until 2021. Before becoming a playwright, Childress was involved in years of local theatre, eventually making it to Broadway in the ‘40s. Her first-hand experience makes this play an invaluable perspective on Black actors’ experience prior to and during the civil rights movement. Centerstage Theatre’s production highlights the relevance of Trouble in Mind, playing a crucial role in addressing the long-running and unchanging racism within theatre.

Trouble in Mind is a satirical, challenging critique of racism within the theater, following a primarily Black cast in the rehearsal of an “anti-lynching” Broadway production called “Chaos in Belleville,” directed by a white man. Despite the progressive image of “Chaos in Belleville,” the egotistical director’s racism and biases are ingrained in the characterization and plot. The protagonist, Wiletta, is an experienced, strong actress accustomed to complying with stereotypical roles in the theater to make a decent income. Despite giving similar advice to the newer Black actors in the production (“You either do it and stay or don’t do it and get out”), she gradually becomes more openly opposed to the director, culminating in a heated argument that ultimately ends the production of the play. Trouble in Mind follows a variety of characters that differ in perspective on “Chaos in Belleville,” with a satire that still feels very relevant today. 

Centerstage Theatre’s Trouble in Mind is immersive and beautifully crafted. Although Childress’ text is already witty and hard-hitting, director Michelle Blackmon and the cast made it their own. Sonia Alexis, who plays Wiletta, gives a vibrant and powerful leading performance alongside her impressive, evidently skilled cast. Melvin Rouse’s hilarious performance of the actor Sheldon made his climactic, emotional monologue a powerful shift in tone; Jacob Tice’s take on the antagonistic director made the character infuriating to watch, naturally meaning his acting was successful. The direction is most remarkable in the subtle actions of each character, particularly when the audience learns of the risky, potential romance between Judy (Kaira Hensler) and John (Hebron Solomon)–a white actress and Black actor–solely through their muted conversations in the background of scenes. As tensions rise between the cast, the varying viewpoints of each character are apparent solely through movement and reaction, despite no dialogue directly addressing them. 

The intimacy of the location adds to the immersion and makes the play feel different than many period pieces; art from the 1950s can often be seen as dated due to the subtle historical barrier that black-and-white film or photography creates or topics that are now in the past. However, the theater medium is tangible and free from this deceptive separation. The proximity to the actors in such an intimate venue alters one’s perception of the story; you feel like you could be in the room with the characters, observing and not interfering with the conflict in front of you. In the direction of the play, there are no overbearing ‘50s references or stylistic elements, subsequently producing a timeless feel that highlights content’s relevance. The visual design is simple and appropriate for the setting of a rehearsal space; the sparse uses of technical effects intensified their impact, subtly separating those scenes from the realistic rehearsal.

Trouble in Mind tackles many compelling and thought-provoking dilemmas: notably, the morality of retaliating against discrimination if it means risking coworkers’ jobs, and the topical issue of handling microaggressions from higher-ups in a professional setting. The play presents lines that feel very modern, such as the prevalent white self-victimization or the director’s avoidance when it comes to the topic of racism. Jacob Tice’s performance of this discomfort effectively makes his character’s unspoken biases obvious; his initial behavior can be chalked up to embarrassing egotism, but as the play progresses, his racist antagonism becomes more apparent. The driving reason behind why Broadway barred Trouble in Mind in the ‘50s was due to Childress’ resistance to change the ending, which was thought too challenging for audiences; this ironically reflects a critical monologue in the play that addresses the limits of progressive ideas that mainstream media allows, stopping development before it says something substantial. 

Nearly 70 years later, American theater has the same problems of misrepresentation, abuse of power, and overbearing control over the stories of Black characters. Although “We See You, White American Theater” drew long-overdue attention to this problem, theater continues to be suppressed and discriminatory. Last month, Donald Trump took over the Kennedy Center and promptly began canceling certain shows, suggesting performances of more neutral productions like Cats and Hello, Dolly. The newly appointed executive director of the Kennedy Center, Richard Grennel, stated “Yes, I cut the DEI bullshit because we can’t afford to pay people for fringe and niche programming that the public won’t support… Yes, we are doing programming for the masses.” Centerstage put on Trouble in Mind at the perfect time: it is a stark reminder of history repeating itself in front of our eyes. The dynamic performances bring out the script’s eerie relevancy, while the palpability of the intimate production emphasizes the real experiences Childress experienced. It is more important than ever to examine historical works of art, and to recognize how their themes continue to resonate in contemporary society; the careful thought and passionate performances that went into Centerstage’s production are exactly what we need at this moment.

Lead photo provided by Centerstage Theatre.

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