THE HANGOVER REPORT – Keith Hamilton Cobb’s allegorical AMERICAN MOOR takes on an unfortunate sameness as it unfolds

Keith Hamilton Cobb in Red Bull Theatre's production of "American Moor" at the Cherry Lane Theatre. Photo by Carol Rosegg.

Keith Hamilton Cobb in Red Bull Theater’s production of “American Moor” at the Cherry Lane Theatre. Photo by Carol Rosegg.

A few days ago at the classic Cherry Lane Theatre in the West Village, I took in  Red Bull Theater’s Off-Broadway production of American Moor by Keith Hamilton Cobb (who also stars). The essentially one-man show tells the semi-autobiographical story of an African American stage actor auditioning for the role of Othello. Motivations and personalities clash when the largely unseen director, who is white, starts insisting on an innocuous, arguably offensive interpretation of the role, thereby stifling the actor’s instinctive and authentic impulses for the character.

What begins as a stimulating allegory for racism and the African American experience eventually becomes a somewhat tedious game of reframing the same point time and time again. This unfortunate sameness might be attributable to the format of the solo show. Without having an opposing point of view other than the actor’s understandably frustrated perspective for much of the Mr. Cobb’s play, American Moor attains a monotonous quality as it unfolds, despite the valid points and observations that are made along the way.

Nevertheless, the play culminates in a couple of powerful exchanges (i.e., when the director makes his presence more tangible), particularly as performed by Mr. Cobb as the persecuted actor. Indeed, the playwright/actor exudes the requisite charisma and dominant stage presence that strikes me as ideal for the role. But alas, American Moor is a vehicle that lacks sufficient variety and depth to make his performance take flight, despite director Kim Weild’s valiant attempt to shape the play into worthwhile drama.

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AMERICAN MOOR
Off-Broadway, Play
Red Bull Theater / Cherry Lane Theatre
1 hour, 30 minutes (with one intermission)
Through October 5

Categories: Off-Broadway, Theater

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