Dutchman hits Oberlin from an unexpected spot

On a campus notorious for its tolerance and acceptance, where people sit around agreeing each other into the ground and where political correctness holds court over all discourse, we sometimes forget the ugliness and hate that exists in the real world. Every once in a while, something comes along to challenge that delicate shell, for better or for worse, no matter how discomforting the effect might be. This weekend's Flying Dutchman Symposium is in that position.

The symposium centers around the one act play, Dutchman, written by Amari Baraka in 1964, which is being co-directed by seniors Chris Abraham and Kiese Laymon. If you're familiar with the play, you're familiar with the controversy. The scene is a New York City subway train and the action revolves around Clay, a black man, and Lula, a white woman who meet on that train and engage in both sexual and racial tension.

Sexual relations between black men and white women have been a bone of contention for decades, and although times have progressed since the 60s, the issue is still an issue, and a sensitve one at that. The symposium clearly presents a case for its present day relevance with a skit (an original piece by Laymon), involving Oberlin students who debate about some of the same subjects that the play brings up.

One black man sleeps with predominately white women, the other black man is afraid of white people. Enter a white woman who currently has a black boyfriend and a black woman who is frustrated by all three of them. The dialogue in the skit has a humorous tone, but its intention is to push the audience to consider these issues in our current context as a frame of reference to introduce the play.

In the play, the issues of the skit resonate with the character Clay, played by sophomore Karlos Parham. Clay is clearly taken with blonde, scantily clad Lula, played by junior Jessica Kapelke-Dale. She is agressive, sensual and exudes a aura of power (condescension) which Clay subjects himself to. But by the end of the play, the tables turn and Clay vents his anger, frustration and frank desire to kill Lula.

The play feels uncomfortable from the start, mostly due to the Lula character, who is portrayed as a sort of manic woman. In fact, Kapelke-Dale plays her almost a little too crazy, which at times takes away from the impact. Instead of focusing on the interchange between a black man and a white woman, it becomes more about this bizarre woman who is obviously an extreme case.

Parham is impressive in his transition from the reserved, complacent Clay to the shouting, fed up Clay. However, his long final monologue could stand to be even more ferocious, especially given the barrage of degrading torment he gets from Lula. The chemistry and strain between the two, however, is successful in creating the boiling tension that the play calls for.

Because this play takes place in the 60s, the language used is perhaps more shocking than we're accustomed to, oddly enough. The way Lula taunts and teases Clay feels very vulgar. But the ideas behind her words are ones that still run rampant today, they are just appear in more subtle and hidden ways.

And that's the main issue at hand. The intention of the play and of the directors was to confront the audience and make them confront themselves. The mixed conceptions of "blackness" and "whiteness" and the fight to break out of stereotypes are still problems that plague the current racial climate.

The final component of the symposium is a post show discussion with the audience. The purpose of this is to find out whether a dialogue really will be sparked over the issues brought out in the play and how willing students will be to speak openly about such touchy issues.

Thursday night's opening performance proved successful, or at least provocative. A makeshift montage of bleacher stands, benches and chairs in the Jones Field House were filled near maximum with audience members despite minimal advertising.

The majority of the audience stayed for the post show discussion, engaging in a hearty debate on the racism and confrontation present in the play. "It's going to be offensive," said Abraham, "It's not supposed to make people feel comfortable, it's supposed to make people think and talk."

Although the play was well received on Thursday with thunderous applause, it is tough to say whether that is indicative of any self implication by individual audience members. Doing this play at Oberlin is particularly interesting experiment. If the play manages to affect the audience on a personal level, then it's up to the individual to accept that challenge for themselves instead of remaining detached.

For Abraham, putting this play on in the land of tolerance will make the effect powerfully poignant. "In an ideal stituation, this campus is filled with the most liberal students and the most willing to talk about race and stereotypes, and if that is the community here, then this is a direct commentary on that openness. It's saying, 'Fuck you, there's still problems we need to break through.'"

The Flying Dutchman Symposium is happening in the Jones Field House tonight and Saturday Night at 9 p.m Both nights also feature an original dance by Camalo Gaskin and Rashida Bumbray. Saturday night will include a performance by Olu Dara. Admission is free on Friday, admission on Saturday is $1.