Marci T. House and Donald Sales (Photo by Tim Matheson)
Something is out of focus here. Maybe it’s me.
Djanet Sears’s 1997 script Harlem Duet riffs on Othello — and it takes on a lot.
The action of Sears’s play unfolds in three time periods. In the core narrative, we’re in Harlem in 1997. In the event that triggers the play, the central character, Billie, who’s a grad student in psychology, gets dumped by Othello, her partner of nine years. He’s a prof at Columbia. Billie and Othello are both Black and Othello is leaving Billie because he’s fallen for a white colleague named Mona. Billie sees Othello as both a romantic traitor and, significantly, a race traitor. Othello’s betrayal strikes at the most fundamental levels of her identity. “Is her skin softer?”, she asks.
The brief scenes that exist in other time periods leave the impression that this pattern of abandonment is enduring, at least centuries old. In 1860, an enslaved woman dreams of escaping to Canada with her man, but he feels held back by his devotion to their white mistress: he thinks she needs him. In 1928, during the Harlem Renaissance, a Black vaudevillian leaves his partner when he, too, falls in love with a white woman.
The play presents this male fecklessness as a form of aspirational whiteness. The actor longs to perform the great roles from the European canon, including Othello. And Billie’s sister-in-law Amah refers to an old story about a Black man who wanted to become white, so he tried the “magic” of having sex with a white woman: “In one single, shining moment,” she says, “he became her, her and her whiteness.” [Read more…]
