Thursday, August 27, 2020

308. LIBERTY CALL. From my (unpublished) ENCYCLOPEDIA OF THE NEW YORK STAGE, 1970-1975

LIBERTY CALL [Drama/Homosexuality/Military/Race/Sex/Ship/Trial] A: Burial Clay; D: Anderson Johnson; L: Sandra Ross; P: Negro Ensemble Company; T: St. Marks Playhouse (OB); 4/23/75-5/4/75 (8)

Note: no photo is available for this production.

The Negro Ensemble Company produced this play as part of a month-long series of new plays limited to eight performances each, under the general title “A Season-Within-A-Season.” It concerned a proud Black man, Boatswain Mate 1C John Wilheart (Samm Williams), on board a Navy ship in Southeast Asia who befriends a wealthy, young White sailor, H.O.B. Rothschild III (Michael Jameson), only to discover the latter has fallen in love with him.

Willing to do anything for money, the heterosexual Black has sex with the gay White, an act that eventuates in the latter’s suicide. The boatswain is then tried for sodomy and manslaughter, thereby coming in contact with a Black Navy lawyer, Lt. Priest (Ramon Raffur), assigned to defend him. The action is recounted in flashbacks, and is set on the ship, a brothel, a bar, ,and a shower room.

“[T]oo much lumpy and needless exposition” got in the playwright’s way, declared Edith Oliver, but he nonetheless managed to provide “playable” scenes and a “dramatic” plot. “[T]he playwright’s writing is rich with barracks humor,” noted Mel Gussow, but melodrama intruded where it should not have. This workshop production was well presented and Samm Williams (a.k.a. Samm-Art Williams, who wrote the successful play Home) gave a strong performance.