What I liked
Cooper Bates’ “un-actorly” performance is refreshing, and the play pops with humor and insight. Who knew, for instance, that there were fully segregated Midwestern towns—effectively functioning as “separate but equal” parallels—during Cooper’s childhood? I guess on some level I may have, but this really brought home the reality of America’s issues with race and how they’re visited in our classrooms and playgrounds. The play’s crescendo, the story that culminates at the gas station, was chilling and completely gripping. I was on the edge of my seat.
What I didn't like
There are times where I felt as if the play could use a little more shaping in terms of how we move from moment to moment (i.e. scene to scene), and like all plays, there are probably a few moments that could be cut or expanded or simply rounded out. To me, this feels like it ultimately wants to live at 80-90 minutes and tour college campuses and other venues.
My overall impression
This show turned out to be a surprise gem at the Fringe. I knew I was going to see a show about race, and it’s easy for show about a hot-button topic to turn into a polemic that simply preaches to the converted. Instead, Cooper Bates has woven a story that’s at times hilarious and charming, but that in its often disarming humor opens a window that suddenly leaves us staring at a much bleaker landscape. While it’s not a perfect play—there are moments that can be tightened or developed further—it’s well on its way, and well worth the price of a ticket and an hour of your time.
