Theatre Review: The White Card at The Leeds Playhouse

AN intimate dinner party descends into some uncomfortable home truths when New York art collectors invite a black artist into their home, hoping to secure work for their private collection. Rankine’s play is very expressively BSL signed and opens with the hosts, Charles (Matthew Pidgeon) and Virginia (Kate Copeland), watching a Serena and Venus tennis match, casually commenting on negative perceptions of women in society. Rankine sets them up as unbigoted, discussing how the former first lady was perceived as an “ape in heels” and men feel “challenged” by the Williams sisters.

These initial throwaway remarks are followed by the arrival of their guest of honour, Charlotte (Estella Daniels), shifting the dynamic as they seek her approval. Immediately before her entrance, hearing Charles discuss resolving “diversity issues” on his board by securing Charlotte is the earliest indicator of what follows.

Having been warned by their art dealer, Eric (Nick Blakeley), she’s highly principled and has previously refused collectors, the couple showcase their collection of prints and herald Charlotte “the artist of the 21st century”. Charlotte recreates acts of everyday racism in her work and has staged the aftermath of the Charleston shooting. Already there’s a slightly uncomfortable dinner party dynamic, heightened by the return of Charles and Virginia’s activist son, Alex (C J Coleman).

Designer Debbie Duru’s set accentuates the couple’s whiteness with furniture and walls all in white, making Charlotte all the more distinctive in their world. Their African-American wall hangings are represented by canvasses describing famous political artworks. As they seek to prove themselves Charlotte’s allies, Rankine ramps up tensions with hints to an estranged son and Charles’ morally questionable business. The sound of the clock ticking amplifies too and Virginia becomes increasingly erratic; her desperate need to appear liberal slowly crumbles as she mispronounces names, confuses Charlotte with another black artist, muddles her son’s protests for “rallies” and bemoans the state of society: “Why can’t we just get along?”

A year later and Rankine’s second half ends abruptly, taking an unexpected turn with Duru’s stage transformed into Charlotte’s studio. Black actors strip the set, suggestive too of Charles and Virginia’s staff. Director Natalie Ibu forces the audience to examine themselves with mirror segments and question who in society are the criminals and victims when black suffering has become art for collection.

Fraught, challenging and thought-provoking while keeping heart and even managing some light humour, The White Card explores control, guilt and privilege, tapping into the human need to be understood.

The White Card shows at Leeds Playhouse 24th May- June 5th before continuing its UK tour:

https://www.thewhitecard.co.uk/