It foreshadows their mutual revelation: It's the U.S. It's a strangely effective moment, wordless and powerful. The first time you see the two play (sorta) nice, they're simply collating and stapling papers together. As verbal gut punches lower, basic work-conditioned reflex bridges gaps. At the risk of sounding tasteless, it'd make a heckuva playlist/mix disc.Īt heart, Ann and C.P., like most of us, believe they're doing their best for their own, for their kids, for the future. and yeah, everybody stand! for Bart Pitchford's sound design. Kudos to scene designer David Page, for juxtaposing suggestion against realism, and to Lyndell McDonald's musically smooth lighting, Jeanette Waterman's period costuming, Ava Buchana's matching work on hair and makeup. The show is played as one long act, understandably, as projected imagery and soulful '70s music between scenes ― It's a tad embarrassing to groove to Sly and the Family Stone as the story spools out, but any high-wire tussle benefits from occasional relief and release ― tie this further down to reality. There's hopefulness, a touching and believable redemption, after an incredibly raw beginning. Atwater loses her temper, and her job, after overhearing her white employer's blithe racism. Both struggle to survive: Ellis' KKK buddies boycott his business. states.Ī real-life miracle evolves as Atwater and Ellis, gradually as the shifting of continents, grind down jagged edges, and begin to view commonalities. CRT was developed by legal scholars in the '70s and '80s to clarify the misconception that societies and institutions had been rendered "colorblind," CRT has become a dog-whistle for political leaders, currently trying to ban teaching about racism in at least 44 U.S. Yet this is the kind of tale even opponents of Critical Race Theory might approve, if they'd make the time.
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