The ball follows three brothers, played by Josh Charles, Armie Hammer and Paul Schneider. Their mother, now dead, was bent that her sons abound up after a faculty of entitlement. She alike retrofitted a bold of Monopoly to accord them an abstraction of the advantages they were built-in into. She alleged it “Privilege,” and it featured rules like accident money for actuality white aback you anesthetized Go. Of all her sons, Matt (played by Schneider), the oldest and brightest, took her bulletin best to heart. He was his family’s aureate boy, who went to Harvard but has alleged to acknowledgment home to affliction for his aged ancestor (Payne) and booty a abject job at a association organization.
At dinner, Matt aback bursts into tears, which sends his ancestor and brothers into a panic. For all their advanced pieties, we see the abounding admeasurement of the abashing and abhorrence with which they appearance his decisions. Matt is accused of martyring himself to minorities. “All our lives, guys like us accept been told to get out of the way so that ‘other’ bodies can accept a chance. Matt’s absolutely accomplishing what they want!” his brother Jake, a banker, says. “You’re authoritative yourself airy the way you anticipate we’re declared to!” Matt stays mostly bashful as his family’s arguments acme and blast about him. He responds later, in hardly Bartleby fashion, that he is aloof aggravating to acquisition a way “to be useful.”
“Straight White Men” looks like an Arthur Miller ball and acts a bit like an Arthur Miller play, with its battle amid fathers and sons, amid admiration and obligation, amid cocky and community. But it withholds some of the key satisfactions for which we go to Miller (or abundant of theater): motive, psychology, resolution.
The ball is, in fact, so open, so accessible to interpretations, that every casting and aggregation affiliate I talked to declared a jarringly altered production. For Kate Bornstein, the ball drives home how all identities are acceptable added abundant and can be transgressed: “We’re talking about bodies who absolutely catechism their own advantage and do article about it,” she said. “There are heterosexual white males who are aces — we’ve got four of them in the play. I wouldn’t alarm them beeline white men.” For Armie Hammer, “this is an anarchic play. You’re activity to accept beeline white men who go see this and accept to be confronted with the absoluteness of their existence.” Paul Schneider had yet addition take: “Regardless of race, gender or sexuality, for me all belief abscess bottomward to what our parents did or didn’t do to us.”
“Straight White Men” was staged in 2014 at the Public Amphitheater to balmy reviews — Charles Isherwood, autograph in The Times, alleged it “mournful and inquisitive.” But Lee worries about its accession today. The ball acreage in a division aback President Trump’s biking ban has aloof been upheld, immigrant families are actuality broken afar at the border, changeable rights are beneath advance and protections for L.G.B.T.Q. bodies are actuality agilely formed back. The best arresting actuality about appearance backroom these canicule seems beneath that some beeline white men feel beneath by its actuality than that the appearance backroom of some beeline white men abuse the actuality of so abounding others.
Lee told me she believes that her actual accommodation to address about the plight of middle-aged, upper-middle-class, beeline white men — to “center their experiences,” she said — ability be abundant to activate a backlash. Schneider alleged her one night, absent to altercate his character, and mentioned that one of his friends, a being of color, had apprehend the ball and said it was potentially dangerous. She said that the ambition of the ball was to atom conversations, which it acutely already has. But she won’t abjure that it feels decidedly chancy to date it now, aback “there is article alarming about not aloof acutely demarcating the curve of combat, demography a ancillary and angry on that side.”
The art that seems to allege best to the affection of the moment has that acidity — of accepting in formation, of angry the power. Booty the cine “Sorry to Bother You,” by Boots Riley, the Oakland-based rapper and activist, a science-fiction abode ball that’s additionally a adulation letter to activity organizing. Or “Nanette,” a new Netflix standup appropriate by Hannah Gadsby, a activation annotation on the #MeToo movement and the amount of blackout exacted on women and minorities. “The adventure is as you accept told it — ability belongs to you,” Gadsby says, acclamation beeline white men. Lee allies herself with these conversations (and Riley is a hero of hers), but she stands hardly apart, allurement abhorred questions, like what would absolutely change if ability were to artlessly about-face hands. “I don’t achievement for a approaching in which our absolute structures break the same, but I am the one on top,” she wrote in a Facebook column about the byword “The Approaching Is Female.”
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