An outstanding historical drama, Adrienne Earle Pender’s “N” tells of the groundbreaking casting of Charles Gilpin in Eugene O’Neill’s The Emperor Jones. The play offers rich characters and compelling discussion of race and theater. Are a playwright’s words sacred? Is theater truly collaborative or are there power dynamics at play, especially when race is an issue? One hundred years after Gilpin’s Broadway debut, we are still seeing many firsts when it comes to African-American and other minority recognition in the arts. This is great theater worthy of many more productions!

Though our sympathies align with Charles Gilpin, Pender has crafted a layered and nuanced double portrait of both Gilpin and Eugene O'Neill. The power imbalance of race and money is always present, both artists are dedicated to their craft, believers in the social value of their art, convinced that they know best, and both high-functioning alcoholics, yet their mutual respect and admiration for each other’s artistry feeds into their mutual neediness for respect and admiration, bringing them together and setting up the eventual clash. I reviewed N for Washington City Paper: https:/...

Wow, this play about race and theater and capital-A Art is fantastic. It follows Charles Gilpin as he skyrockets to fame in Eugene O'Neill's The Emperor Jones, and the rise and fall of both Gilpin's relationship with O'Neill and Gilpin's career. Their fallout hinges on Gilpin's refusal to say one derogatory word (you know the one) which O'Neill peppered throughout the play. I've made my own share of "Don't change a single one of my precious words. They're all there for a reason" speeches, so hearing O'Neill make that argument in this context made me uncomfortable and made me think.