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Where Can I Read the Slave Play Script

2018 play by Jeremy O. Harris

Slave Play
Broadway promotional poster for Slave Play, by Jeremy O. Harris and directed by Robert O'Hara

Broadway promotional poster
Written by Jeremy O. Harris
Characters
  • Kaneisha
  • Jim
  • Phillip
  • Alana
  • Dustin
  • Gary
  • Teá
  • Patricia
Appointment premiered November 19, 2018 (2018-11-19)
Place premiered New York Theatre Workshop
Original linguistic communication English
Subject Racism, sexuality, ability relations, trauma, interracial relationships
Official site

Slave Play is a iii-act play by Jeremy O. Harris[1] about race, sex, power relations, trauma, and interracial relationships.[2] [3] It follows 3 interracial couples undergoing "Antebellum Sexual Performance Therapy" because the blackness partners no longer feel sexual allure to their white partners. The title refers both to the history of slavery in the United States and to sexual slavery role-play.

Harris originally wrote the play in his get-go twelvemonth at the Yale School of Drama,[4] [five] and it debuted on a major phase on November 19, 2018, in an Off-Broadway New York Theatre Workshop staging directed by Robert O'Hara. It opened on Broadway at the John Golden Theatre on October half-dozen, 2019. In 2019, Slave Play was nominated for All-time Play in the Lucille Lortel Awards,[6] and Claire Warden won an Outstanding Fight Choreography Drama Desk Honour for her work in the play.[vii] The play has been the center of controversy due to its themes and content.[8] At the 74th Tony Awards, Slave Play received 12 nominations, breaking the record set by the 2018 revival of Angels in America for near nominations for a non-musical play, though it did not receive any awards.

Characters [edit]

  • Kaneisha – A 28-year-quondam black woman who is in a relationship with Jim. She plays as a slave in the first human activity and she has anhedonia. She speaks in a natural Southern dialect throughout.
  • Jim – A 35-year-quondam wealthy white homo who is in a relationship with Kaneisha. He plays a slave overseer in the outset act, and has a British accent in the following acts.
  • Phillip – A thirty-year-quondam mixed-race homo who is in a relationship with Alana. He plays a mulatto retainer in the beginning human activity and he has anhedonia.
  • Alana – A 36-twelvemonth-old white woman who is in a human relationship with Phillip. She plays a mistress in the starting time act.
  • Dustin – A 28-year-sometime gay white human who is in a human relationship with Gary. He is "a white man but the lowest type of white—muddied, and off-white." He plays as an indentured retainer in the first act.
  • Gary – A 27-yr-old gay black man who is in a human relationship with Dustin. He plays a blackness overseer in the commencement deed and he has anhedonia.
  • Teá – A 26-year-old mixed-race woman who is in a relationship with Patricia. She studies black feminism and queer theory, and is holding a written report in Racialized Inhibiting Disorder in interracial couples with Patricia.
  • Patricia – A thirty-yr-old light-skinned brown adult female who is in a relationship with Teá. She studies cerebral psychology, and is belongings a study in Racialized Inhibiting Disorder in interracial couples with Teá.[9]

Plot [edit]

Act Ane: "Work" [edit]

Act Ane begins at McGregor Plantation, a southern cotton wool plantation in pre-Civil War Virginia.[10] The start act chronicles three private meetings and sexual encounters of iii interracial couples. The play begins with the song "Work" past Rihanna playing in the McGregor's overseer cottage.[eleven] Kaneisha, a slave, begins to twerk to the vocal when Jim, a white slave possessor, walks in holding a whip. Jim is repeatedly uncomfortable when Kaneisha calls him "Main," only berates her for not cleaning the room ameliorate and throws a cantaloupe on the ground and tells Kaneisha to eat it. As Kaneisha eats the cantaloupe, she begins to dance again, which confuses and arouses Jim.[11] The overseer so initiates sex with Kaneisha.[12] When she asks to exist called a "nasty, lazy negress," he instead gain to perform cunnilingus.[xi]

The scene transitions to the boudoir of Madame McGregor, the wife of Master McGregor. Madame McGregor, or Alana, calls upon Phillip, her mulatto servant, and asks him to play the dabble. Phillip begins to play Beethoven's Op. 132. Alana stops him, calling European music wearisome, and asks him to play "negro" music. Phillip plays "Pony" by Ginuwine and Alana dances, and so initiates sex activity, proverb she is under Phillip's mulatto spell.[11] She then uses a dildo to penetrate him, asking him if he likes being in the woman's position.[thirteen] Phillip replies that he is unsure.[11]

In the McGregor's barn, Gary, a black slave, is in charge of Dustin, a white indentured servant. Gary taunts Dustin, finding their allocation of power agreeable. Gary kicks Dustin downwards, calling him lesser than other white people.[eleven] The song "Multi-Beloved" past Unknown Mortal Orchestra begins to play. The two fight before they engage in sexual intimacy.[ii] Gary has Dustin lick Gary'due south boot clean; this causes Gary to orgasm. He of a sudden starts crying and cannot be comforted by Dustin.[11]

The scene shifts back to the other couples. Phillip keeps playing music that Alana does not like on his fiddle and Kaneisha and Jim are engaged in sex. Kaneisha asks once again to exist chosen a "negress." Fifty-fifty as Kaneisha nears orgasm, Jim stops participating when Kaneisha calls him "Masta Jim". Jim so switches to speaking in a British accent and tells Kaneisha that he is not comfortable with the situation.[xi] Jim uses his safeword,[12] "Starbucks," to stop the encounter.[xi]

Suddenly, new characters in modern clothing, Patricia and Teá (also an interracial couple[xiii]) come into the room. They recommend for the three couples to meet dorsum at the main business firm soon.[xi] It is revealed that in reality the characters are modernistic couples participating in a function-playing exercise meant to improve intimacy between white and blackness partners.[12]

Act Ii: "Process" [edit]

The second act is dedicated to a contemporary grouping therapy session among the three couples to treat their inability to experience sexual pleasance.[10] The therapists, Patricia and Teá, speak through affirmations and academic jargon for near of the session.[xiv] They are on Twenty-four hour period Four of the therapy, which focuses on fantasy play.

Dustin begins by noting that Gary came, which he could non do before, but Gary counters that Dustin was uncomfortable in making his whiteness hyper-visible. Alana enjoyed the release of the fantasy and asks Phillip if he enjoyed it besides, noting that he got an erection when he had trouble before.[xiv] Jim keeps interrupting speakers with laughter; Teá asks him to share, especially since he was the ane who said the safeword. Jim is confused and overwhelmed by the therapy. Teá clarifies that the therapy, titled Antebellum Sexual Functioning Therapy, was designed to help black partners feel pleasance again with their white partners. Jim is uncomfortable playing the role of the slave overseer and demeaning his married woman, and believes the experience is traumatizing and ruining his relationship with Kaneisha. Kaneisha feels frustrated and betrayed that Jim did not give what she asked of him.[14]

After Patricia and Teá read back to the group what they have said, Alana points out that mostly white men are speaking. Dustin insists that he is non white. Dustin and Gary become dorsum into an one-time argument over Dustin wanting to move into a more gentrified neighborhood. Dustin refuses to characterization himself as white, and Gary feels that through this he erases Gary's identity.[fourteen] Phillip, who has not spoken much, says that the therapy seems fake to him. Alana speaks over him, still upset well-nigh Jim proverb the safeword.[fourteen]

Patricia and Teá explain the origins of Antebellum Sexual Performance Therapy in treating anhedonia, with Patricia speaking over Teá. The couple shaped information technology as their thesis together at Smith and then Yale. They are foregrounding the study both through their experiences in their ain relationship and their academic background. They country that anhedonia is caused by racial trauma passed downwardly through history: black partners may be unable to bask sexual practice with their white partners considering of "Racialized Inhibiting Disorder." Teá previously experienced anhedonia with Patricia, and it was through fantasy play that she worked out her racial trauma. Symptoms associated with Racialized Inhibiting Disorder include anxiety, obsessive-compulsive disorder, and "musical obsession disorder."[14]

Phillip says none of his partners are able to come across him equally blackness and he struggles with beingness mixed race. Gary realizes that the vocal he ofttimes hears, "Multi-Love", was imagined due to "musical obsession disorder." Kaneisha says she felt in control during the fantasy play, but Jim took that abroad from her by using the safeword; Gary agrees but Phillip does not. It is revealed that Phillip and Alana met because her ex-married man had a cuckold fetish, and that when Phillip was with her under those pretenses, he felt sexually excited because he was viewed as black by her husband. Alana insists it had naught to exercise with race, and now that they are in a committed relationship Alana views him every bit a complex person. Alana breaks downward. Gary confronts Dustin, asking why he always says he is not white. Gary questions why they are however together, and he and Dustin almost become into a fight earlier Patricia and Teá intermission it up.[fourteen]

Jim starts to read something he wrote on his phone. He does not understand why Kaneisha looks at him with disgust, similar he is "a virus," nor does he know what he is supposed to do. Kaneisha realizes that "virus" is the clarification she has been searching for, referencing the diseases introduced by Europeans which decimated the indigenous peoples of the Americas.[2] She says she knows now that she cannot feel pleasure considering she cannot forget her disgust with Jim's race.[xiv] She confronts Patricia and Teá, saying they are wrong: the problem is within the white partners, non a disorder inside the black partners.[14] Kaneisha is overwhelmed as "Piece of work" by Rihanna begins playing again.[xiv]

Act Three: "Bewitch" [edit]

In the 3rd act,[10] "Work" plays as Kaneisha is packing in a room and Jim comes in. Kaneisha says that what she needs isn't better communication, but for Jim to simply mind. Jim is silent as Kaneisha recounts how they met, and then times in her childhood when she had to visit plantations on schoolhouse field trips. As the simply black girl, she felt a need to human activity proud for her "elders" watching her. She says she barbarous in love with Jim, a white man, because he was non American.[fifteen] Jim begins to initiate foreplay and the music rises while Kaneisha continues that the human relationship went downhill 3 years ago, when she stopped feeling sexual pleasure because she began to see him equally strange and frightening. She saw Jim's whiteness and power, and that he also has "the virus", considering though he is not American, he benefits from being white while being unaware of the privilege that whiteness gives him. She says that Antebellum Sexual Performance Therapy and the fantasy play gave her a sense of peace because she feels the elders watching her over again; the elders do not intendance that she is with "a demon / who thinks he's a saint", merely simply want the ii of them to know he is a demon.[xv]

Suddenly, Jim calls Kaneisha a "negress" and gags her; the music stops. Jim returns to performing his slave possessor role, dominating and insulting Kaneisha. She silently consents to continue, simply when Jim initiates forceful sexual practice she struggles costless and screams the safeword. She begins to cry, then laugh, and Jim cries likewise as they comfort each other. Kaneisha stands and cheers Jim for listening.[16]

Themes [edit]

Slave Play deals with the themes of race, sexual activity, power relations, trauma, and interracial relationships.[2] [3] Lapacazo Sandoval wrote that the play provides a real look at racism in America, especially in how racism persists fifty-fifty past the abolitionism of slavery.[three] The play attempts to uncover current racism and microaggressions through the lens of slavery.[3] Aisha Harris, writing for The New York Times, said the play "bluntly confronts the lingering traumas of slavery on blackness Americans."[17] Through the reoccurring theme of psychoanalysis, Jeremy O. Harris examines how slavery still impacts both the mental states, and the relationships, of blackness people in the nowadays.[17]

Past staging a chat between slavery and the nowadays, the play uses the theme of fourth dimension and history to describe how the trauma of slavery persists.[17] As Tonya Pinkins writes, racism does non have a safe word in the play, and throughout the narrative, white characters are forced to recognize their historical and social locations in relation to their partners.[8] The play dwells on the affect of blackness erasure in interracial relationships.[10] Throughout the narrative, the white partners are incapable of recognizing, or naming, their partners race, rather it is considering of guilt, or because they become defensive.[10] By placing sex activity and racial dynamics in juxtaposition through the Antebellum Sexual Performance Therapy, the play makes whiteness, and white privilege, hyper visible in interracial relationships.[10] Soraya Nadia McDonald points out that the play works to uncover racial innocence.[13] Racial innocence is the concept that white people are innocent of race, and therefore they are racially neutral.[18] Past placing the white characters in the position of the master, the mistress, or the indentured servant, the play makes whiteness visible to the white characters.[xiii]

History [edit]

Writer Jeremy O. Harris has said that he wrote Slave Play during his first year at the Yale School of Drama,[v] from which he graduated in 2019.[xix] In October 2017, a product of Slave Play was presented at the Yale School of Drama as part of the annual Langston Hughes Festival.[twenty] [21]

The play was announced for the 2018-2019 season of the New York Theatre Workshop (NYTW)[22] and was taken into the development program of the National Playwrights Briefing at the Eugene O'Neill Theater Center.[23] [24] Afterwards that month, Robert O'Hara[25] who had known Harris since his brief studies at De Paul University and was 1 of his teachers at Yale,[26] was appear as director.[27] At the stop of July 2018, the first public reading of the piece of work was held at the conference.[28]

Previews of the product at NYTW, under the patronage of the production visitor Seaview Productions, began on November 19, 2018.[29] Due to loftier demand, the elapsing of the prove's run was extended before the official December 9 premiere, with the final performance beingness postponed from the original closing date of December xxx, 2018, to January 13, 2019.[30] Over the side by side two weeks, tickets for all performances sold out.[31] [32]

On September 18, 2019, the play ran and hosted a Broadway Blackout night where the audience consisted of just black identified artists, writers, or students.[33] The play began its Broadway run at the John Golden Theatre in October 2019.[34] [35] The play opened its 17-week express Broadway date on October 6, 2019, and closed as scheduled on January 19, 2020.[35] [36] Harris and his team promised that ten,000 tickets would be sold at $39 in an effort to diversify the crowd.[37]

In June 2020, the producers and artistic squad of Slave Play made a donation of $ten,000 to the National Bailout Fund and released a argument in support of Blackness Lives Thing.[38]

In September 2021, it was announced that a new appointment of the play will run at the August Wilson Theatre from November 23, 2021, to Jan 23, 2022, with plans to and then transfer to Los Angeles. Most of the cast is slated to render, with the exception of Joaquina Kalukango, due to a prior delivery to the pre-Broadway run of Paradise Square; she will be replaced past Antoinette Crowe-Legacy, who originated the office of Kaneisha at the Yale School of Drama. The producers said they intended to repeat their previous efforts to sell ten,000 tickets for $39 each.[39]

Roles and principal casts [edit]

Grapheme Off-Broadway
(2018) 		Broadway
(2019) 		Broadway Remount
(2021)
Kaneisha Teyonah Parris Joaquina Kalukango Antoinette Crowe-Legacy
Jim Paul Alexander Nolan
Phillip Sullivan Jones Jonathan Higginbotham
Alana Annie McNamara
Dustin James Cusati-Moyer Devin Kawaoka
Gary Ato Blankson-Wood
Teá Chalia La Tour
Patricia Irene Sofia Lucio

Reception [edit]

Critical reception of Slave Play has been polarized.[three] [8] Due to themes revolving effectually sexuality and slavery, reviewers accept either defended the play or criticized it.[40] In particular, Harris believes that making a play palatable would be buying into respectability politics, and reviewers such as Tim Teeman and Soraya Nadia McDonald accept noted how Slave Play's explicit content is utilized to critique racism in the United States.[10] [13] [twoscore]

In that location take been petitions to close downwards Slave Play because of its themes.[41] In detail, audience members and writers have criticized the play for its treatment of black women characters, and voicing that it disrespects the violent history of rape in chattel slavery.[41] In 2018, a petition titled "Shutdown Slave Play" was started, with the petitioner describing the play as traumatizing and exploitative of human atrocities.[41] Critic Elisabeth Vincentelli noted the similarities between the themes and manner of Slave Play and those of the plays An Octoroon (2014) and Hush-hush Railroad Game (2016).[42] [43]

Despite the controversy, many reviewers take met the play with acclaim.[8] Peter Marks describes the play as funny and scalding, while Sara Holden wrote that Harris manages to make every graphic symbol an archetype while at the same giving them depth.[44] [12] Positive reviews of the play herald Slave Play equally both confronting racism and unpacking the nuances of interracial relationships, and cite it every bit comedic and entertaining.[44] [12] Aisha Harris wrote nigh the experience of seeing Slave Play equally a black woman, stating that the uncomfortable narrative of the play allows for productive thought.[17]

Other reviewers accept reviewed the play negatively. Thom Geier reviewed the play as intentionally designed to provoke, and calls the play uneven.[2] Juan Michael Porter Two, a black theater writer, reviewed the play as consisting of oversimplified confessions meant to titillate the audience.[45]

Awards and nominations [edit]

Original Off-Broadway production [edit]

Year Award Category Nominee Result
2019 Lucille Lortel Awards[6] Best Play Nominated
Outstanding Featured Thespian in a Play Ato Blankson-Wood Nominated
Drama Desk Accolade[seven] Outstanding Lighting Design for a Play Jiyoun Chang Nominated
Outstanding Fight Choreography Claire Ward Won
Outer Critics Circumvolve Honour[46] John Gassner Award Jeremy O. Harris Nominated

Original Broadway product [edit]

Year Award Category Nominee Result
2020 Tony Awards[47] Best Play Nominated
Best Leading Extra in a Play Joaquina Kalukango Nominated
All-time Featured Actor in a Play Ato Blankson-Woods Nominated
James Cusati-Moyer Nominated
Best Featured Extra in a Play Chalia La Tour Nominated
Annie McNamara Nominated
Best Management of a Play Robert O'Hara Nominated
Best Original Score Lindsay Jones Nominated
Best Breathtaking Blueprint of a Play Clint Ramos Nominated
All-time Costume Design of a Play Dede Ayite Nominated
Best Lighting Blueprint of a Play Jiyoun Chang Nominated
Best Sound Design of a Play Lindsay Jones Nominated
Drama League Awards[48] Outstanding Production of a Play Nominated
Distinguished Performance Award Ato Blankson-Woods Nominated
Outer Critics Circumvolve Accolade[49] Outstanding Actress in a Play Joaquina Kalukango Honoree
GLAAD Media Award[50] Outstanding Broadway Production Nominated

References [edit]

  1. ^ Megarry, Daniel. "Jeremy O. Harris". Gay Times (09506101), Mar. 2019, pp. 32–35.
  2. ^ a b c d east Geier, Thom (December nine, 2018). "'Slave Play' Theater Review: A Twisty Play That's I Behemothic Trigger Warning". The Wrap . Retrieved September 30, 2019.
  3. ^ a b c d e Lapacazo Sandoval, Contributing Writer. "'Slave Play' by Jeremy O. Harris a Real Look at Racism in America —Opening on Broadway, Oc-Tober six." Los Angeles Scout (CA), October nine, 2019.
  4. ^ Daniels, Karu F. (January 7, 2019). "Rising Playwright Jeremy O. Harris Addresses Backlash Over Controversial Slave Play". The Root . Retrieved September 30, 2019.
  5. ^ a b Cuby, Michael (March 8, 2019). "For Jeremy O. Harris, Playwriting Is Merely the Beginning". them. Condé Nast. Retrieved September thirty, 2019.
  6. ^ a b Gans, Andrew (April iii, 2019). "Nominations for 34th Almanac Lucille Lortel Awards Announced; Carmen Jones and Rags Parkland Sings the Songs of the Future Lead the Pack". Playbill . Retrieved September 30, 2019.
  7. ^ a b Fierberg, Ruthie (July 2, 2019). "Tootsie, Hadestown, and The Ferryman Lead 2019 Drama Desk Award Winners". Playbill . Retrieved September 30, 2019.
  8. ^ a b c d PINKINS, TONYA. "Racism Doesn't Accept a Safe Discussion." American Theatre, vol. 36, no. 6, July 2019, pp. forty–41.
  9. ^ Harris, Jeremy O. "Slave Play." American Theatre, no. 6, 2019, p. 39-67.
  10. ^ a b c d e f g Teeman, Tim (September 12, 2018). "What Makes Jeremy O. Harris' 'Slave Play' Such a Powerful Play About Racism". The Daily Beast . Retrieved September 30, 2019.
  11. ^ a b c d due east f g h i j Harris, Jeremy O. "Slave Play." American Theatre, no. 6, 2019, p. 42-50
  12. ^ a b c d east Holdren, Sara (December 10, 2018). "Theater Review: Slave Play Blends the Terrifying and the Tantalizing". Vulture . Retrieved September xxx, 2019.
  13. ^ a b c d due east McDonald, Soraya Nadia (December 14, 2018). "The subversive 'Slave Play' peels dorsum the veneer of racial innocence in Northern whites". The Undefeated . Retrieved September thirty, 2019.
  14. ^ a b c d e f g h i j Harris, Jeremy O. "Slave Play." American Theatre, no. half-dozen, 2019, p. fifty-64
  15. ^ a b Harris, Jeremy O. "Slave Play." American Theatre, no. 6, 2019, p. 64-67
  16. ^ Jung, Eastward. Alex (March 6, 2019). "How to Fuck With White Supremacy". Vulture . Retrieved September 30, 2019.
  17. ^ a b c d Harris, Aisha (Oct 7, 2019). "What It's Like to Encounter 'Slave Play' as a Black Person". The New York Times.
  18. ^ Bernstein, Robin. Racial Innocence.
  19. ^ Murphy, Tim (August xix, 2019). "These Boundary-Pushing Playwrights Talk Theater, Creative Activism, and Turning Trauma Into High Fine art". Departures. Time Inc. Retrieved October 1, 2019.
  20. ^ Kafadar, Eren (Oct 27, 2017). "Langston Hughes Festival: Giving Vocalization to New Playwrights". Yale Daily News . Retrieved Oct i, 2019.
  21. ^ "Friday, October 27, 2017". Yale Calendar of Events. Yale University. Oct 27, 2017. Retrieved October 2, 2019.
  22. ^ Clement, Olivia (Apr 4, 2018). "New York Theatre Workshop Unveils 2018–2019 Flavor". Playbill . Retrieved Oct 1, 2019.
  23. ^ Cox, Gordon (April 17, 2018). "Beth Henley, J.T. Rogers and Sarah DeLappe Set for 2018 O'Neill Playwrights Conference". Diverseness . Retrieved Oct 1, 2019.
  24. ^ Goldberg, Wendy C. "national playwrights conference — NPC '18". Eugene O'Neill Theater Center. Retrieved October 1, 2019.
  25. ^ Cloudless, Olivia (Apr 27, 2018). "Robert O'Hara Volition Directly World Premiere of Jeremy O. Harris' Slave Play". Playbill . Retrieved October ii, 2019.
  26. ^ Simpson, Janice C. (July 16, 2019). "In Conversation With Jeremy O. Harris and Robert O'Hara on Slave Play". Broadway Direct. Nederlander Organization. Retrieved October 10, 2019.
  27. ^ "Jeremy O. Harris Talks New York Theatre Workshop'south "Slave Play"". BUILD Serial. YouTube. December half dozen, 2018. Retrieved October 8, 2019.
  28. ^ "One year ago today, SLAVE PLAY past Jeremy O. Harris (NPC '18) had its start public reading on our campus". Eugene O'Neill Theater Center. Twitter. July 25, 2019. Retrieved Oct two, 2019.
  29. ^ McNerney, Pem (July 31, 2019). "From Baked Goods to Broadway Productions: Shoreline Trio Tackles I of the Hottest Plays of the Season". Zip06. Shore Publishing. Retrieved October eight, 2019.
  30. ^ Cloudless, Olivia (December 7, 2018). "Slave Play Extends Another ii Weeks at NYTW". Playbill . Retrieved October 8, 2019.
  31. ^ Harris, Jeremy O. (December 21, 2018). "The ⁦@nytimes⁩ is making me love ⁦@Mr_NaveenKumar⁩ even more than I did concluding calendar month with this beautiful #tbt. Slave Play sold out just get a ⁦@vineyardtheatre MEMBERSHIP to guarantee a "Daddy" ticket!". Twitter. Retrieved October 8, 2019.
  32. ^ Peitzman, Louis (December 21, 2018). "The Best Plays And Musicals Of 2018". BuzzFeed News . Retrieved September 30, 2019.
  33. ^ Smith, Kyle (September xviii, 2019). "'Broadway Blackout'". National Review. Retrieved Nov 5, 2019.
  34. ^ Riedel, Michael. "Hot Ticket A Captive Audience? Downtown'south Provocative 'Slave Play' Is Proving a Difficult Sell on B'mode." New York Post (New York, NY), 2019.
  35. ^ a b Lapacazo Sandoval. "'Slave Play' past Jeremy O. Harris a Real Look at Racism in America —Opening on Broadway, October six." Los Angeles Picket (CA), October 9, 2019.
  36. ^ Wetmore, Brendan (January 21, 2020). "'Slave Play' Changed Broadway'due south Accessibility Forever". Paper . Retrieved June 5, 2020.
  37. ^ Fierberg, Ruthie (Oct 30, 2019). "Why Jeremy O. Harris' Slave Play Is Inextricably Linked to Rihanna: The playwright talks nearly Rihanna'southward influence on the Broadway play, texting in the theatre, the price of theatre tickets, and more". Playbill.
  38. ^ Evans, Greg (June 4, 2020). "'Slave Play' Team Pledges $10K To National Bailout Fund, Challenges Broadway Community". Deadline . Retrieved June 5, 2020.
  39. ^ Paulson, Michael (September 27, 2021). "'Slave Play' Was Shut Out at the Tonys. Only It's Coming Back to Broadway". The New York Times . Retrieved September 27, 2021.
  40. ^ a b Street, Mikelle. "No Interruption." Out, vol. 27, no. 4, Nov. 2018, pp. 80–83.
  41. ^ a b c B, Ashley. "Shutdown Slave Play". change.org.
  42. ^ Vincentelli, Elisabeth (December 15, 2018). "I have seen it. And i have also seen the plays it rips off, namely An Octoroon and Underground Railroad Game". Twitter. Retrieved October 8, 2019.
  43. ^ Vincentelli, Elisabeth (December 17, 2018). "I'll rephrase: the play covers very similar thematic and aesthetic grounds the earlier ones did, just not every bit imaginatively or skillfully". Twitter. Retrieved October 8, 2019.
  44. ^ a b Marks, Peter (Oct 6, 2019). "'Slave Play' Is a Funny, Scalding, Walk forth the Boundary betwixt Black and White in America". The Washington Postal service.
  45. ^ Porter II, Juan Michael (October 15, 2019). "Despite the Hype, I Hated 'Slave Play' [Op-Ed]". COLORLINES.
  46. ^ Andy Lefkowitz. "Hadestown Leads Winners of 2019 Outer Critics' Circle Awards". Broadwaybuzz.com . Retrieved June 10, 2020.
  47. ^ Libbey, Peter (October xv, 2020). "Full Listing of the 2020 Tony Accolade Nominees". NYTimes.com . Retrieved October 18, 2020.
  48. ^ "Drama League Honour nominees 2020". dramaleague.org . Retrieved June 10, 2020.
  49. ^ Caitlin Huston (May eleven, 2020). "Outer Critics Circle names 2019-2020 honorees". Broadway News . Retrieved June 10, 2020.
  50. ^ "The Nominations for the 31st Annual GLAAD Awards". glaad.com . Retrieved June 10, 2020.

External links [edit]

  • Official website for the Broadway production
  • Slave Play at the Internet Broadway Database Edit this at Wikidata
  • Slave Play at the Cyberspace Off-Broadway Database

Where Can I Read the Slave Play Script

Source: https://en.wikipedia.org/wiki/Slave_Play