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I find that conversations around a piece of art, especially diving deeper into the artist’s intent and their perceived successes and failures, can often be more intellectually stimulating than the work itself. While there are some interesting musings from O’Harris, my biggest takeaway from Slave Play. Not a Movie. A Play. was a palpable reminder of the ephemeral nature of nearly all art. The arrival and subsequent runs of “Slave Play” were a major moment in NYC theatre, but because I didn’t find it entirely effective, that moment seems distant now as the “latest and greatest” plays continue to emerge. Still, the uniquely controversial nature and polarizing responses from people of all races—I forgot about that clip of the woman interrupting the talkback!—testify to the fact that O’Harris created a piece of theatre that resonated with its time and should continue to be revisited. O’Harris’s new documentary, which combines scenework from the play with an exploration of his evolving relationship with his work and his distinct belief in the purpose and tradition of theatre, might not add much new to “Slave Play,” but it deepens my understanding and admiration of him as an artist and person. Plus, the scenes are performed very compellingly. If anything, it makes me want to see the play again; to engage and discuss, as O’Harris encourages us to do. I’m not sure how the documentary would play for folks unfamiliar with the source material, but I also don’t believe that’s it necessarily needs to.
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