Theater Review: ‘Dutchman,’ Clash of Sex and Race

This ominous one-act by Amiri Baraka features a mixed couple on a New York subway train.

Ryan Jillian Kilpatrick and Michael Alcide play seducer and victim, respectively, in the New Federal Theatre production of “Dutchman.” Gerry Goodstein

NEW YORK—This ominous one-act by Amiri Baraka features a mixed couple on a New York subway train. According to the theater’s website, the title “Dutchman” alludes to the most notorious slave ship company in the 17th century, the Dutch East India Company.

Prior to opening curtain, we see projections of the interior of subway cars flashed onto the stage with accompanying sounds of trains (projections and sound by Bill Toles). Also heard is passionate music from Richard Wagner’s “The Flying Dutchman.”

Then we see a young, nicely dressed African-American man, Clay (Michael Alcide), seated in a subway car reading a book. Suddenly, a blonde, sexily attired “white” woman, Lula (Ryan Jillian Kilpatrick), wearing a white facial half-mask, knocks on the train window to attract Clay’s attention.

Moments later, Lula not so much as enters the car, she sidles in, fiercely biting into a large red apple as she seductively eyes Clay. Taken aback, Clay can only stare at her.

Although the car is empty, she invites herself to sit down next to him, and the duet begins.

Their conversation is at first neutral, except for Lula behaving in an obviously sexy manner. She offers Clay an apple, which he accepts. It is apparent that this piece of fruit represents The Apple of biblical meaning.

The conversation becomes a kind of Ping-Pong game with Lula alternately seductive, then insulting.

The conversation becomes a kind of ping-pong game.