"Slave Play. Not A Movie. A Play," a film by innovator Jeremy O. Harris, provides an insightful peek backstage of his contentious novel named play. The 12-time Tony Award-nominated Broadway hit, Slave Play, charts the journey of three interracial couples as they grapple with contentious racial clichés and power structures during a provocative therapy session with role-play elements set against a fictitious Virginia plantation backdrop. The film's title itself implies it to be as stimulating as the stage play. Embracing a non-traditional approach, Harris breaks free from the regular documentary blueprint of a strict chronological narrative, instead diving into an exploration of his artistic procedure rather than the actual stage play.
Right from the outset, audiences are bombarded with a flurry of reviews from critics and influencers, presented through assorted media from news clippings to TikTok clips and anonymous criticisms. Collaborating with his editors, Peter Ohs and Teki Cruickshank, Harris underscores the play’s reputation, inviting audiences into the dialogue. Art features subjectivity, and “Slave Play. Not A Movie. A Play.” is no outlier.
Harris, much like Orson Welles in his 1973 docufilm “F is for Fake,” binds thoughts, not scenes. He intersperses footage from varied rehearsals, different actors, and theatrical productions, frequently showcasing corresponding scenes side by side. This creates a sense that we are exploring Harris’s thought process as he scrutinizes and reevaluates the film during editing. Viewers get an insider's perspective on the creative process, a peek into the play's crafting and deconstruction process.
Although the film dances around racial undertones, it mirrors the play's light-heartedness. Harris stands as the central character, dazzling us with his humor and stylish flair, both metaphorically and literally, as evident from his wardrobe that sets him apart from others. We study and notice his demeanor and conversations, diving headfirst into his thought process.
Harris's viewpoint within the film and play serves as an allegory for how he, as a BIPOC, grapples with the reality of living in America. The audience's uncertainty about the story they will experience when watching this production mirrors the unpredictability of his daily experiences. However, this film's strength also doubles as its weakness, the storyline feeling unfinished since Harris's own narrative continues to unfold.
Unfortunately, the early promise and enthralling edits don't adequately culminate, leaving viewers wanting more at the conclusion. Despite the talent Harris displays, the film meanders in sections and seems to enjoy its role as a conversation starter more than setting a conclusion worthy of its namesake. It fails to maintain a sustained conversation about the issues it raises, depending mainly on the novelty and shock value of slavery role-play, causing it to end on a soft note.
