AISLE SAY San Francisco

RACE

by David Mamet
Directed by Irene Lewis
Presented by and at the American Conservatory Theater
415 Geary St. at Mason, San Francisco / (415) 749-2228

Reviewed by Judy Richter

An older, wealthy, white man is accused a raping a much younger black woman in a hotel room. No, he isn't Dominique Strauss-Kahn, former head of the International Monetary Fund. He's Charles Strickland (Kevin O'Rourke), a character in David Mamet's ever-so-relevant "Race," making its West Coast premiere at American Conservatory Theater.

After being turned away from one law firm despite declaring his innocence, Charles goes to a firm led by two partners, the black Henry Brown (Chris Butler) and the white Jack Lawson (Anthony Fusco). It quickly becomes apparent that the two attorneys aren't so much interested in guilt or innocence as they are in winning or losing. Can they put on a show that will convince a jury that Charles is not guilty, especially since their initial assumption is that he's guilty?

The still-touchy issue of race influences all of their deliberations, which also are swayed by gender issues. Both the race and gender issues, as well as perhaps ageism, are personified by Jack and Henry's attractive, young black associate, Susan (Susan Heyward). Her agenda may be far different from whatever agendas her two bosses have. Hence, in true Mamet style, there's much ambiguity in this 90-minute, intermissionless play, and no one comes out looking good.

The set looks good, though. Designed by Chris Barreca, it features a long wall of floor-to-ceiling shelves of law books (the program credits a local law firm for 370 linear feet of them). This slightly angled wall is met by a wall of floor-to-ceiling glass separating the attorneys' conference room from a waiting area. With lighting by Rui Rita, costumes by Candice Donnelly and sound by Cliff Caruthers, director Irene Lewis has assembled a topnotch design team to complement the terrific cast. Brown and Fusco as the law partners are cynical and smart as they play good cop, bad cop with Charles and then with Susan. Lewis keeps the action crisp and focused, just like Mamet's script. In the end, the audience is left with important questions about what role racism and wealth still play in our society despite affirmative action and other advancements.

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