"Racist!"
A single word that changed the destiny of so many people. One word spoken in anger drives Irish-American playwright Thomas Gibbon's Permanent Collection. The writer explored race relations in an earlier work, speaking with both the white voice and the black voice (for which he has been be criticized).
The Philadelphia playwright brings this culture clash to a private art museum, funded by the Morris Foundation, when a black businessman becomes the director. The fireworks start early after he discovers an extensive collection of African art stored in a basement. (Incidentally, touring the dark recesses of any museum is a pure joy of discovery.) He expresses a desire to display a few pieces. The Director of Education mentions that the original owner's will prohibits any change in the display.
New Director Sterling North (Walter Murray) wants to challenge the will. Paul Barrow (John Tessmer) is aghast at the mere suggestion of change. North accuses Barrow of being a racist. Both men are unwilling to find a middle ground. North sees only white artists being shown, except for four pieces. The white/black conflict becomes a polarizing cause celèbre.
Murray and Tessmer are brilliant. While couched in terms of art and tradition, the cultural clash is the underlying theme. The two actors have full command of the subtleties and biases of their characters. At their first meeting, they are tentative and curious. We watch the escalation of wills, egos and temperament. Murray's Act One opening speech and Tessmer's Act Two opening speech set and advance the mood.
As the plot thickens, Kanika Weaver (Tanya Johnson), North's valued assistant, fails him. Ella Franklin (Valerie J. Ludwig), long-time assistant to the directors, bides her time as North and Barrow battle. It is Gillian Crane (Debra Wanger), a local section reporter, whose column reveals each man's misspeaking. Lastly, the ghost of Alfred Morris (Joe Powers) prowls the museum, observing but never interacting.
Permanent Collection is a feast for both lovers of theater and art. Why would a benefactor demand no change in his extensive collection, relegating important works to the basement? Why would he specify that his museum stuck, in a upper-class, all-white neighborhood, be willed to a black university? As an eclectic collector of art, was he also an eclectic collector of men from diverse cultures?
David F. Weiner's set, using see-thru walls, allows the audience to see several rooms of the Morris museum, which are highlighted by Jason Bieber's lighting design.
Sound designer Lindsay Jones provided just the right amount of music to underscore the show. Michelle Hunt's costumes work well. Director Seema Sueko's well-crafted production keeps the audience riveted to the action.
The play was inspired by the Barnes Foundation in Lake Merion, outside of Philly. The Barnes, like the fictional Morris, has a diverse and extensive collection, is in a residential neighborhood, and has gone through serious controversy. (Incidentally, The Barnes hopes to move to Philly in the future.)
Permanent Collection is an inspiring play, a tense play, and an excellent theater experience. And as is said in the play, "Let the art speak for itself."
