Less than 25 minutes into the opening night performance of Eleanor Burgess’, The Niceties, a patron stomped up the aisle and out the door, muttering displeasure at the story unfolding on stage. Poor guy, he missed one smart, relevant evening of theatre performed by two remarkable women
In the 1960s, the fight on university campuses was for freedom of speech. Students rebelled against oppressive censorship in everything from their college newspapers to anti-war rallies. Like a giant wave, the collective will to shatter conventions swept over the United States, changing the topography in its wake. In 2019, the fight has turned to suppress speech, to control who may speak on campus, and to dictate the narrative in lecture halls. This conflict of purpose is at the heart of The Niceties. In fact, Burgess’ inspiration for the script was a 2015 incident at Yale.
The Niceties begins with a simple essay review between a white university history professor and a black student that turns into a debate then a struggle of wills and finally escalates into a full-blown battle. Giving no thought to exposure of real or imagined prejudices, Professor Janine Bosko (Lisa Banes) engages in what she seems to think is mere spirited debate about American history, thesis methodology, and grammar. Her student, Zoe Reed (Jordan Boatman), seeing nothing but inherent racism and privilege, weaponizes Bosko’s words, threatening not only her tenure but her very existence. Smatters of applause and approving comments from the audience throughout the evening revealed a clear split about which of the two women was righteous.
Two-person plays can quickly devolve into an exercise in talking-heads. Not so with Banes and Boatman stepping into this mine-field—ripped right from today’s headlines. Banes’ innate elegance gives Professor Bosko a bit of self-congratulatory assuredness that would otherwise be insufferable were it not tempered by real charm and earnest passion. Boatman is fervent and true as student-turned-activist Zoe Reed, a character who might easily be booed as the villain were it not for a reservoir of young wit, hurt, and anger that fuel her. Casting (Alaine Alldaffer) is spot-on. Director Kimberly Senior points these two actresses in the direction of a near-to-perfect rhythm that moves apace without rushing, and they follow it with precision. With fine detail, D.M. Wood’s lighting, Cameron Anderson’s scenic design, and Elisheba Ittop’s music and sound design all work together to create an environment that itself is as specific as the two women who inhabit it.
The Niceties is a spirited piece of art that grapples with a real-world escalation of ideas. It feels important to see it. Then discuss it. Without malice in any direction.
Photo credit: https://www.geffenplayhouse.org/shows/the-niceties/