Bradshaw's 'Carlyle' makes comic case for African-American conservatives
Thomas Bradshaw is at it again. With his world-premiere “Carlyle” for the Goodman Theatre in Chicago, the Evanston-based provocateur playwright serves up a frequently funny comedy with plenty of potential to anger - and divide - its audiences.
Bradshaw previously tested boundaries with explicit simulated sex scenes in his 2015 racial drama “Fulfillment” for Chicago's American Theatre Company. And in 2011, many scathing reviews greeted the Goodman's world premiere of Bradshaw's “Mary,” which hastily showed how two African-American servants became empowered through faith and homophobia.
Bradshaw continues to push political and racial buttons in “Carlyle,” as he shows what drove the title African-American lawyer to become a die-hard Republican conservative. And though “Carlyle” is clearly a satire aimed at conservative hypocrisy, Bradshaw makes sure that left-leaning audiences will also feel uncomfortable throughout.
The comedy's hard-to-swallow structure has the financially privileged Carlyle Meyers (James Earl Jones II) presenting an autobiographical play where he re-enacts the key life moments that shaped his right-wing outlook. The notion of a sensible Republican with political ambitions agreeing to such a bizarre self-confessional exercise - especially with its unvarnished moments of onstage sex, drug use and profanity - comes off as ridiculous. But in context to the current presidential primary season, I'm willing to give Bradshaw a pass.
“Carlyle” plays like a series of politically minded “Saturday Night Live” sketches. There are laughs to be gleaned in scenes touching upon gun ownership, interracial relationships helping break down prejudice and how many African-American conservatives feel the need to be closeted with their views. But Bradshaw frequently undercuts the comedy by presenting unvarnished conservative viewpoints on affirmative action, attacks on welfare, and re-enactments of the sexual harassment scene involving Anita Hill and eventual Supreme Court Justice Clarence Thomas. In these moments, Bradshaw often doesn't allow for other characters to present cogent counterarguments. Or if he does, it's to show how these debates descend to a level of accusatory name-calling that emboldens entrenched and polarized views.
Though “Carlyle” has issues with its structure and often unchallenged viewpoints, director Benjamin Kamine's Goodman production moves along with a clipped speed and many fine comic performances.
Typically known for his outstanding work in Chicago-area musicals, Earl Jones II shows that he can securely anchor the comedy of “Carlyle.” He's amiably abetted by the likes of Tiffany Scott in her perky turn as Carlyle's supportive wife, Janice, and Tim Edward Rhoze as Carlyle's father.
The other members of the ensemble take on multiple roles with gusto. Patrick Clear, in particular, shines as a number of befuddled and self-assured white conservatives.
As a piece of theater, “Carlyle” is so current that it might not find a future life beyond this election cycle. In fact, the play could require rewrites if the U.S. Supreme Court hands down a ruling on the recently argued challenge to affirmative action in college admissions.
But if Bradshaw's goal with “Carlyle” was to prod audiences to consider the scarcity of African-Americans among the ranks of Republicans, he succeeds. “Carlyle” should make you laugh, but often uncomfortably.
“Carlyle”
★ ★ ½
Location: Goodman Theatre, 170 N. Dearborn St., Chicago, (312) 443-3800 or
Showtimes: 7:30 p.m. Wednesday and Thursday (also April 19), 8 p.m. Friday, 2 and 8 p.m. Saturday, 2 and 7:30 p.m. Sunday (no evening shows April 17 or May 1); through May 1
Tickets: $10-$40
Running time: About 75 minutes with no intermission
Parking: Area pay garages and limited metered street parking
Rating: For mature audiences; contains language and sexual situations