TRU$T

What I liked

It’s well acted overall. It has a great use it tech and it’s news clips.

What I didn't like

As the only Black man in a predominantly older white audience, I found myself watching this play with growing discomfort. While I understand that theater often aims to provoke and explore difficult themes, this production ultimately came across as racially tone-deaf and troubling in its execution.

The story centers on a wealthy white family living in Malibu, their narcissistic, racist neighbor and their relationship with their privileged liberal white son who bring home his new black friend he met at the occupy protest in downtown LA. However, what stood out most was the problematic way in which the playwright portrayed its characters of color.

A Latina character—seemingly a domestic worker—appears in only two brief scenes, relegated to a one-dimensional stereotype that serves no real purpose in the narrative. Meanwhile, the family’s son introduces a young Black man from South Central Los Angeles whose character is built around nearly every harmful stereotype imaginable: he raps, sells a wide array of drugs, is armed with a gun, and behaves with abrasive naivety. Instead of subverting expectations, the writing reinforces long-standing, damaging portrayals of Black identity.

What’s more disturbing is the thematic juxtaposition between this Black character and the story’s primary antagonist—a wealthy, openly racist money manager. This narrative decision raises uncomfortable questions about the playwright’s message. Is the implication that both figures are equally chaotic or problematic? If so, the play dangerously conflates systemic racism with individual dysfunction, painting a misleading and harmful picture.

Adding to the confusion is an elderly grandfather character who oscillates between progressive advocacy and casually racist remarks. His closing monologue is meant to provide emotional or philosophical closure, but instead feels unearned, given the lack of accountability or deeper reflection throughout the piece.

The production seems to swing between overt racism and a misguided attempt at white saviorism—both of which undermine its potential to offer genuine commentary on race, identity, and privilege. At times, the show hinted at a “Knives Out”-style satirical mystery, but it veered sharply into offensive territory instead.

My biggest concern is how easily this play might be embraced by audiences unfamiliar with the lived experiences of people of color. For those viewers, the play may falsely appear to be progressive or socially conscious, when in fact it perpetuates outdated and harmful ideas.

I encourage the playwright—particularly as a white artist—to approach stories involving race with greater nuance, care, and consultation. Write what you know, yes—but more importantly, seek to understand what you don’t. Because without that understanding, attempts at social commentary can easily do more harm than good.

My overall impression

This is a well-acted play but it’s racially tone deaf in its execution, unfortunately.