By Kyle Smith
Friday, June 30, 2017
In Chicago, where there were more homicides last year
than in Los Angeles and New York City combined, expressing any support
whatsoever for the police is now considered an outrage. Should you point out
that, say, a play seems to suggest cops are evil crackers, you may find
yourself denounced as a racist and targeted for abuse and ostracization.
A theater writer has just found that out. In what the
website American Theatre dubbed “the review that shook Chicago,” adding in a
subhead that “Local theatre artists rise in revolt,” veteran theater critic
Hedy Weiss of the Chicago Sun-Times
criticized a new play called Pass Over,
which I haven’t seen but is being described as a kind of update of Waiting for Godot filtered through the
sensibility of Black Lives Matter. The play, by Antoinette Nwandu, was mounted
by the Steppenwolf Theatre Company, perhaps the most celebrated outfit of its
kind outside of New York City. Weiss found its racial politics to be a bit
reductionist, and offered these thoughts in her review:
No one can argue with the fact that
this city (and many others throughout the country) has a problem with the use
of deadly police force against African-Americans. But, for all the many and
varied causes we know so well, much of the lion’s share of the violence is
perpetrated within the community itself. Nwandu’s simplistic, wholly generic
characterization of a racist white cop (clearly meant to indict all white cops)
is wrong-headed and self-defeating. Just look at news reports about recent
shootings (on the lakefront, on the new River Walk, in Woodlawn) and you will
see the look of relief when the police arrive on the scene.
Cue unbridled rage. Steppenwolf charged her with
“deep-seated bigotry.” An actor named Bear Bellinger announced that he would not
perform if Weiss showed up at a workshop production he was appearing in. An
ad-hoc coalition that might as well have dubbed itself the Blackball Hedy
Movement (but is actually called the Chicago Theater Accountability Coalition,
or CTAC) launched a petition via change.org to organize the theater world of
Chicago against Weiss by denying her invitations to its plays. Several theater
organizations have publicly agreed to join the blackballing effort, and dozens
have offered noncommittal statements of support. The group’s broadside against
Weiss reads, “Over the last few years especially, we have joined together to
make it clear that inappropriate language or behavior does not have a place
within our community, and that prejudice of any kind will not stand.”
Wait a minute — inappropriate behavior? Inappropriate language?
Weiss cannot reasonably be accused of either of these things. She isn’t
disrupting plays. She isn’t using curse words and slurs in her reviews. She
isn’t, as far as I know, belching loudly during shows nor unwrapping candies
during quiet moments. CTAC should be honest with itself and admit that its
charge against Weiss is that she is thinking inappropriate thoughts. It was less than two years ago that Steppenwolf mounted a
stage adaptation of George Orwell’s 1984.
Do these people not recognize their kinship with the thought police? Do they
not see that “Shut up” is not an argument?
To join the Hedy Weiss Resistance seems self-defeating on
the one hand and pointless on the other — she could, after all, simply buy
tickets to the plays, and pass along the cost to her employers (the Sun-Times pledged such support in its
editorial defending her). Moreover, if she actually were successfully kept away
from plays in Chicago, those plays would lose the publicity fillip of being
written about in a widely read newspaper.
And what part of Weiss’s review is indefensible? Is not
most of the violence perpetrated against blacks in Chicago, and elsewhere,
carried out by other blacks? Of course it is. I won’t bother to cite statistics
because everyone knows this. Do not
ordinary law-abiding black citizens respond with relief when mayhem is answered
by the arrival of police? To say otherwise would be to charge black communities
with valuing bloodshed more than order. As for whether the portrayal of the cop
in the play is meant to indict all police officers, or whether that portrayal
is simplistic and generic, I couldn’t say, not having seen the play. But
expressing opinions on the depth and subtlety of a play is what all theater critics do.
Weiss, we are told gravely, has “done this before,”
meaning she has said politically incorrect things. Thirteen years ago she
called Tony Kushner a “self-loathing Jew” in a review of his play Caroline, or Change. Kushner once called
the state of Israel “a moral, political catastrophe for the Jewish people” and
wrote the movie Munich, which was a
moral-equivalence piece evincing at least as much disgust with the Mossad for
tracking down and assassinating the Palestinian terrorists who carried out the
1972 Olympics massacre as it did with the PLO murderers themselves.
Nonsensically, Weiss also stands charged with “body-shaming” for praising the costumes in a production of
Mamma Mia, saying they “make the most
of the many ‘real women’ figures on stage,” referring euphemistically to plump
performers, but contrasting them with backup dancers who had “perfect bodies.”
An aggrieved cast member replied in a huff that all women’s bodies are perfect.
The theater world is a place where being “subversive” and
“transgressive” are considered the highest of all virtues. But what’s going on
in Chicago is a reminder is that greasepaint revolutionaries can barely handle
even mild intellectual opposition. They picture themselves riding bravely into
the battlefield of ideas. But if anyone shows up to fight for the other side,
they cry meekly, “Excuse me, I don’t think you’re allowed here.”
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