‘Slave Play’ shocked and provoked. How the ‘Slave Play’ documentary on Max aims for the same

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NEW YORK  —

As a young Black artist who grew up without the means to afford Broadway tickets, I can deeply relate to Jeremy O. Harris’ mission to break down barriers of entry and make theater more accessible and engaging for underrepresented communities. I remember feeling excluded from the world of theater because of its financial inaccessibility and lack of representation.

Before “Slave Play” made its Broadway debut in 2019, there was significant interest from producers and studios for Jeremy O. Harris to transform his play into a movie or television production.

“My first thought,” the 35-year-old playwright says, “was absolutely not.”

“Slave Play,” penned by Harris during his initial year as a graduate student at Yale University, centers around three contemporary interracial couples. They engage in an unconventional form of therapy called “antebellum sexual performance” at a historic Virginia plantation. This setting unearths distressing topics related to racial suffering, slavery, sexuality, and dominance. From its debut at Yale, through off-Broadway at the New York Theatre Workshop, and ultimately on Broadway, this play has left audiences stunned, puzzled, and stirred up strong reactions.

As a devoted cinema enthusiast, I’ve got to say, the buzz surrounding “Slave Play” has truly taken off, but let me clarify something from my perspective: “Slave Play” isn’t a film; it’s a live performance. The magic of the theatre lies in its ability to captivate us in real-time, and that’s an experience you just can’t get from watching a movie at home.

Friend and documentarian Chris Moukarbel strongly encouraged Jeremy to capture the development of the play on camera, expressing amazement and excitement, saying, “Jeremy, it’s unbelievable that you haven’t been filming any of this. This is a major moment for you.”

Harris demurred.

Harris chuckles as he shares, “I’d prefer a documentary about me or the play to be released posthumously.” He initially hesitated at the idea of planning such a project.

As a passionate theater enthusiast with years of experience in attending live performances, I’ve been eagerly anticipating the release of “Slave Play. Not a Movie. A Play.” The documentary, directed by the talented Harris, recently premiered at the prestigious Tribeca Festival and will soon be available to stream on Max starting this Thursday. I’m thrilled to have the opportunity to explore this thought-provoking production from the comfort of my own home. With a rich background in theater and an insatiable curiosity for innovative storytelling, I can hardly wait to immerse myself in this unique and groundbreaking work.

“Slave Play: Not Just a Play,” provides an apparent straightforward look into the making of a production, but masterfully flips this perspective, compelling audiences to ponder their prejudices and reconsider their beliefs regarding culture and race.

The documentary focuses on a workshop Harris organized at the William Esper Studio in New York in 2022, inviting 23 acting students to participate. Over the course of two intensive days, Harris guided the students through a reading and analysis of “Slave Play.” However, the film offers more than just insights into the play; it also provides a glimpse into Harris’s perspective and philosophy.

Jeremy O. Harris in the new documentary “Slave Play. Not a Movie. A Play,” streaming on Max.
(HBO)

As a movie buff, I once had a brilliant idea: going back to Yale and recreating our original workshop with the original cast. But alas, my dear friends from school have since grown into successful actors with real-life careers.

As I watched the documentary bringing together the Yale cast members, I couldn’t help but notice it wasn’t exactly how playwright-turned-director Harris had initially imagined. Yet, he didn’t shy away from venturing into unfamiliar waters. “It was an intriguing endeavor,” he shared with me, “an odd little experiment. After all, everything I create is an odd little experiment. I never aim for anything predictable or mundane.”

With a two-year contract already in place, HBO was an obvious choice for screening Harris’ documentary. Additionally, the film’s producer, Moukarbel, who had previous experience working with HBO, shared Harris’ enthusiasm for innovative projects.

Moukarbel mused, “How can we create an innovative approach that reflects the play’s complex nature?” He continued, “For those unfamiliar with the production, this adaptation offers a glimpse into the script itself. Additionally, listeners get to enjoy the dialogue as it’s brought to life through performance.”

When “Slave Play” was coming to an end in January 2020 after its limited run, Harris received an opportunity to transfer the production to a larger theater. At that point, he pondered over the possibility of filming this significant moment. He expressed, “Broadway rarely hosts black plays.” Now, with the small show making a comeback in a bigger venue and extending its run, Harris contemplated creating a documentary about relocating the play.

As a devoted moviegoer, I was looking forward to the release of the highly anticipated new production on Broadway. However, just as things were really heating up, COVID-19 entered the scene and brought everything to a grinding halt. The show had to be postponed indefinitely. Yet, despite the uncertainty and challenges, I, along with the dedicated team behind the project, remained steadfastly committed to bringing this vision to life on the silver screen.

He explains: “Instead of just treating it as an opportunity, I chose to create a documentary that would intrigue me as a theater student if I came across ‘Slave Play’ in my studies. In other words, what could serve as an engaging complement to ‘Slave Play’?”

Even if you’ve never heard of Jeremy O. Harris, you may have seen him or his work.

A former Gucci model standing at 6 feet 5 inches, he’s not just a face for fashion but an actor (“Emily in Paris,” “Gossip Girl”), scriptwriter (“Zola”), and producer (“Euphoria,” “Irma Vep”). In social settings, he’s charismatic, full of humor and quick wit. His infectious laughter conceals a deep intellect that often sparks intriguing conversations, leaving you with an unforgettable dining experience.

At the Golden Theatre’s opening of “Slave Play,” Harris made history as the youngest Black male playwright to have a Broadway production, an achievement later surpassed by Jordan E. Cooper and his play “Ain’t No Mo.” Harris humorously remarks, “It’s enjoyable having records to be broken by others.”

In the movie, Harris’ self-assuredness shines through, while his sincerity is also noticeable. At one particularly moving instance, Harris reveals his raw emotions as he responds to “Slave Play” earning a historic 12 Tony Award nominations, but ultimately coming up empty-handed.

At the beginning of the movie, Harris makes a subtle acknowledgement of the controversial nature of his work. This is demonstrated through footage from a 2019 post-show discussion, during which an upset woman in the audience exclaims, “I don’t want to listen to the notion that white people are the root of all evil… and she went on about how unaware white people are of their own racism.”

On the stage, Harris explains, “This story focuses on the lives of eight particular individuals. It’s wonderful if you don’t find yourself among them. … These are eight unique characters in a play, symbolizing our nation. A metaphor doesn’t have to encompass every individual within it.”

The play had elicited strong opposition before, particularly during its off-Broadway performance. An online protest urged for its closure due to its disturbing visuals and the amused response from a mainly white crowd. The situation escalated with threats of violence, resulting in heightened security measures at the theater.

I was thrilled to be part of the buzz surrounding “Slave Play” when it first made waves in our city. The excitement grew even more when Rihanna graced us with her presence at a preview performance. Some traditional Broadway enthusiasts were taken aback when they noticed her texting during the show, but little did they know, she was engaging in an intense conversation with the playwright himself. He strongly defended her actions, adding another layer of intrigue to this thought-provoking production.

“One thing I stated back then that I still believe is true is that theaters must accept that phones are a part of our lives now. It’s impossible to regulate their use in theaters. These devices have become an extension of ourselves, and failing to acknowledge how they change our experience of physical spaces and art is another hurdle we need to overcome to attract new audiences,” Harris explains.

Harris is dedicated to transforming traditional theater customs to draw in a more varied and youthful crowd. In support of this goal, he and his team reserved 10,000 dollars’ worth of $39 tickets throughout the Broadway production of “Slave Play.”

He didn’t get to see his first Broadway show until he was past 20 due to financial reasons. Now, I aim to remove as many obstacles as I can for the young audience member eager to explore theater further, while making it an appealing, exciting, and distinctive experience.

Playwright Jeremy O. Harris, in pink, is surrounded by acting students in a scene from the new documentary “Slave Play. Not a Movie. A Play,” streaming on Max.
(HBO)

Actor Amani Owusu, 28 years old, was among those who received discounted tickets. Later on, she joined the workshop and took on the role of Kaneisha – a sexually unsatisfied Black woman seeking relief through her character’s submission to her white partner “Massa Jim” in the play’s shocking opening scene – in the production.

“During conversations about ‘Slave Play,’ people would rave about it but fail to provide any explanation – instead urging others to attend,” Owusu remembers. “The first half left us utterly surprised and questioning if we should continue or leave.”

During the workshop, when Harris shared the reasons behind writing the play, the unclear aspects became clear to her. She described the experience as having seen the play initially and being astonished, then later gaining a deeper understanding. “It was like two distinct, intense encounters,” she explained.

LaTonya Grant, 45-year-old actress who portrayed Kaneisha during the workshop, shied away from “Slave Play” on Broadway. The thought of dealing with slavery and racial issues, along with the accompanying pain, held no appeal for her. However, when she was invited to join the workshop, she initially declined the offer. Nevertheless, after reading the script, she reconsidered her decision and signed up. “This isn’t what I expected at all,” she realized. “I need to face the discomfort.”

Up until now, Harris has been taken aback by the achievement of “Slave Play” yet inspired by its significant influence on the world of theatre.

He previously believed that this play didn’t have much potential beyond niche recognition. However, after the success of “Slave Play,” there was renewed interest and a surge of productions featuring works by underrepresented groups such as queer people, people of color, and women. The realization that diverse works could thrive on commercial stages emerged.

Starting in 2025, I’ll take on the role of the inaugural creative director for the Williamstown Theatre Festival’s Creative Collective. With this new responsibility comes a full plate as I also work on starting a new production company. Amidst all this, I’m heading back to London this week to contribute to “Slave Play,” an upcoming production featuring Kit Harrington from “Game of Thrones” and Olivia Washington, the daughter of Denzel and Pauletta Washington. Performances for this thought-provoking play begin on June 29, and in line with Broadway traditions, we’ll have two special nights set aside for audiences identifying as Black.

It was remarkable for a Black audience to be given the chance to fully engage with a Broadway play that featured an all-Black cast, as if we were witnessing a Tyler Perry production, he expressed. Every voice needs to be heard in our community. That’s why I chose to produce shows myself – instead of just complaining or fighting against it, I decided to take action and create the opportunities I wanted to see come to life.

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2024-07-18 20:15