Confederates – The Minefield of Racism

“Confederate: 1. a person one works with, especially in something secret or illegal; an accomplice. 2. a supporter of the Confederate States of America” (from the program)

Sandra (Michelle Wilson)

Sandra (Michelle Wilson) is a superstar, tenured, university academician teaching, we presume Black Studies and/or the American Civil War. She’s thoughtful, articulate, and demanding of students, pressing for excellence that will later serve. One day, the professor finds an image of a Black mammy suckling a white baby taped to her office door. The image bears her own photoshopped face. Secure in her methods, Sandra is disturbed that someone metaphorically perceives her as a betrayer.

Sara (Kristolyn Lloyd), a spitfire plantation slave during the Civil War, tries to convince her brother Abner (Elijah Jones) to let her take part in what she sees as a battle for freedom. “Don’t wanna be safe, wanna be useful!” Having deserted the southern army, Elijah joined the opposition. The Master’s daughter, Missy Sue (Kenzie Ross), turns up after years away suddenly in favor of emancipation. Having turned to Sara for companionship in childhood, she developed a deeper bond than that of which the slave was aware.  

Sara (Kristolyn Lloyd)

To that end, she transfers Sara into the main house in order that they can more easily spend time and so that the slave can spy for the north. At some point, Missy expects to run away with this Black woman she loves and desires. “We both need to step into our destiny.” Sara is appalled, but realizes the opportunity- to spy. Fellow slave LuAnne (Andrea Patterson), who’s achieved a cushy position by sleeping with the Master, suggests Sara follow her path using sex to further comfort and advantage. The new domestic creates a situation of blackmail equalization to protect herself. Is she wrong about Luanne?

We toggle back and forth between the two women, both of whom must navigate societal minefields – because they’re Black. This is a play about dispensation to live free, its challenges and costs.

Candice (Kenzie Ross) and Sandra (Michelle Wilson)

In today’s world, Sandra’s prize student Malik, who is an ambitious Black man (Elijah Jones), accuses her of “trying to prove tenure qualities” when she gives him less than the A he needs. He feels disrespected. The teacher suggests he create a tighter argument and resubmit his work.

Having been denied further financial aid because her family makes too much money, undergraduate assistant Candice (Kenzie Ross) is angry at what she interprets as prejudice against her White privilege. She sounds like a petulant valley girl and obtusely emits racist statements. “Social unrest doesn’t mean you stop having personal problems. We live in a society of multiple realities,” Sandra says.

The professor has innocently worn a ‘Black Lives Matter’ shirt. Candice feels White entitlement is being rubbed in her/their face, while Malik conjectures Sandra is promoting an incendiary White slogan. Allowances are made, Candice says, because of Sandra’s divorce. (A passage where the educator gets too personal about this with her student may be the only false note in a remarkable script.)

Sara (Kristolyn Lloyd), Abner (Elijah Jones), Luanne (Andrea Patterson)

Fellow Black teacher Jade (Andrea Patterson) has heard gossip that Sandra won’t support her tenure application. She implies her peer is jealous and lacks requisite sense of ‘sisterhood;’ maligns her methods and warns of student dissatisfaction. Nothing in an articulate, balanced response gets through to her.

All of these issues are resolved with what seems like questionable motivation to those who think of themselves as victims.

Sandra is threatened with loss of prestige, credibility, and confidence. Sara is threatened with beating, being sold away from familiar surroundings, and death. Both are restricted, both feel like targets, even from those of their own race. Playwright Dominique Morriseau is precise and sharp. Humor insidiously winds its way through a serious subject. If you thought race was treacherous before…!

Sara (Kristolyn Lloyd) and Missy (Kenzie Ross)

Director Stori Ayers achieves smooth transitions by letting us watch Civil War era characters strip to modern day apparel as plantation music switches to hip-hop. (Period music should be just that, however, not modern interpretation. – Curtis Craig and Jimmy Keys AKA) Southern accents are good. Body language skews to character. Pacing is skilled. Intimacy coordinator Ann James effects a solid parenthesis.

The cast is uniformly excellent with Michelle Wilson and Kristolyn Lloyd showcasing particularly nuanced portrayals. Playing two chatterboxes, the otherwise fine Kenzie Ross sometimes has a tendency to slur words.

Hair, wig and make-up design by Nikiya Mathis are well manifest. I Ari Fulton’s overlap of contemporary separates with Civil War era apparel is disorienting. Expeditious?

Photos by Monique Carboni

Commissioned by Penumbra Theater and the Oregon Shakespeare Festival – a play as part of the United States History Cycle: to create a work about the Black experience of the Civil War

Signature Theatre presents
Confederates by Dominique Morriseau
Directed by Stori Ayers