
There’s a whodunnit aspect to Snowflake: Andy wonders about the significance of Natalie’s tattoo. (Photo of Natasha Burnett and Aaron Craven by Shimon Karmel)
It always amazes me when a show manages to save itself in Act 2. This production of Snowflake does that — splendidly.
In playwright Mike Bartlett’s Snowflake, the first act is a monologue delivered by a guy named Andy. As he waits in a church hall in his hometown of Oxfordshire, England on Christmas Eve, Andy has an imaginary conversation with his estranged daughter Maya, who left home suddenly after the death of her mom. Andy hasn’t heard from Maya in three years and he’s desperately hoping she’ll show up. (He believes he’s managed to leave a message for her requesting a meeting.)
But Andy spends most of Act 2 with a young woman named Natalie, who’s there to collect crockery for another event. She’s Black, Andy’s white, and one of the first questions out of Natalie’s mouth is, “So how racist are you, then?” [Read more…]