Playwright: Tracey Scott Wilson. At: Goodman Theatre, 170 N. Dearborn St. Tickets: 312-443-3800; www.GoodmanTheatre.org/Buzzer; $10-$40. Runs through: March 9
Buzzer, in its Chicago premiere, has been positioned as a controversial play about race, but I see it differently. I think it's about a caveman marking his territory. He's the improved, intelligent Cro-Magnon caveman staking his claim on Neanderthal turf, but he's part Neanderthal himself and the animal in him overtakes the thinking man, bit by bit.
The context is a hard ghetto neighborhood in Brooklyn, N.Y. Jackson grew up there but used his smarts to get out and carry him through Harvard Law School. Now with a high-paying job, he's moving back as the 'hood verges on gentrification. He buys a large rehabbed apartment in a grand old building and moves in with girlfriend Suzy and his best bud, Don, a recovered substance abuser. Jackson is Black; Suzy and Don are white.
Complications soon arise both inside the apartment and outside. Inside, Suzy and Don have a one-off which is telegraphed from the early minutes of the play. They lie to Jackson to cover their tracks. Outside, Suzy is subjected to aggressive sexual taunts from the locals. Jackson decides to intervene which leads to arguments with Don and Suzy, arguments made more convoluted by the lies. Inevitably and predictably, the entangled passions end in violence both inside and outside. The looming question as the conflict grows is which of the three will wind up dead?
However, Buzzer is a comedy, albeit a serious one, and all survive. Indeed, there actually is no resolution to the street action or the relationships although Don is moving out as the play ends, and Suzy has reconfirmed her commitment to Jackson. But, clearly, something has changed. Don's lie damages his long and caring relationship with Jackson, and Jackson himself seems to know the unspoken truth. More than once Don says, "No secrets. Secrets are bad!" and he proves to be correct.
Certainly there are racial connotations here which are rather baldly delineated. Don and Suzy speak plainly of "white privilege" and empowerment, even as Jackson is the upwardly-mobile money-maker. What is not openly discussed are Black-on-Black violence and economic warfare as Jacksonwho admits to being a gentrifierquite literally descends to street level and street tactics in order to deal with the physical problem outside the building and to release the emotional tensions building up inside.
In an anomaly at the Goodman Theatre, lead actors Shane Kenyon ( Don ) and Erik Lynch ( Jackson ) are non-Equity ( probably not for long ). Their detailed and convincing work demonstrates the formidable depth of Chicago acting talent. Lee Stark ( Suzy ) equals their fervor and commitment. Under skilled veteran director Jessica Thebus, they drive through the play's several improbabilities to bring out its ample intelligence.