Review: Race

This production of David Mamet’s Race at Hampstead Theatre marks its UK première, having first appeared on Broadway four years ago. It is unmistakeably American, from its treatment of the central theme of race to the representation of the legal system, but its first incarnation on British soil is still gripping – but rather shallow in the end.

Throughout the show the audience are flies-on-the-wall in a barrister’s chambers, where three lawyers – two black, one white – investigate the case of their client, a rich white man who has allegedly raped a younger black woman. Tim Shortall’s set design immediately places us in the realm of money and power, through traditional wood panelling, bound books and leather armchairs, yet the books look untouched and it all seems to be for show. This is a key theme throughout the piece, as appearances and perceptions become more important than truth. Is Charles Strickland innocent? Does it matter? Will the jury believe in his innocence? And what’s it got to do with the colour of his, and his victim’s, skin? Mamet has stated that this play is about “race and the lies we tell each other on the subject”, and it certainly seems that this is not about the pursuit of truth, but rather an investigation of lies, assumptions and prejudices which everyone wants to deny.

From the opening lines, questions about race and perceptions of it are flung into our faces with no respite; in all honesty, it’s rather like being hit around the head with the theme, such is the blunt and purposefully confrontational style. The dialogue is relentless, as lawyers Jack Lawson (Jasper Britton) and Henry Brown (Clarke Peters) throw out forceful, and to their client, sometimes bewildering statements. The punchy one-liners are certainly emotive, provoking both shock and genuine laughter; it is a darkly cynical play, but at times a very funny one too, and the cast do well in keeping this balance. Yet the racially-charged language and daring declarations, although numerous, are lacking in depth, and overall Race feels strong in performance, but rather weak in actual dramatic effect.

Britton and Peters are excellent as lawyers Lawson and Brown. Making conversation look spontaneous with ease, they negotiate the wordy and intense script deftly, and relish in the dry humour of the piece, especially when satirising the legal process. They act with panache and passion which really carries the play, and leave Charles Daish as Strickland looking a little detached from his role, appearing mildly concerned rather than desperate about his predicament. Nina Touissant-White is strong as Susan, whose character undergoes the most development in the eyes of the audience, from hard-working junior lawyer to, it turns out, a devious and bitter young woman. It is interesting that the youngest character in the play appears to have the most hostility and prejudice: her initial attempts to understand the case and the motivations of her employers hide a deep bitterness at the world she lives in, and demonstrates that race is not an issue which only bothered the previous generation.

Yet for all this, there is something hollow about the work, as the intentionally provocative dialogue fails to fully engage with any real debate. There are bold statements which arouse shock and intrigue, but they are left hanging rather than tracing a particular argument or arriving at any real point of discussion. The cumulative effect is a work that is trying very hard but doesn’t attain much, a high grade for effort, but room for improvement in achievement. It’s not all bad: a strong cast and for the most part an entertaining script provide a decent evening at the theatre which does improve as it progresses. But if you’re looking for a real debate to get your teeth into, Race doesn’t quite reach the heights it promises.

Race is playing at Hampstead Theatre until 29 June. For more information and tickets, see the Hampstead Theatre website