The Thomas and Kavanaugh Hearings Restaged as a Theatre of Fact
Black man, white man, Black woman, white woman: the cardinal points of our racial and sexual situation. None of the principals in this production can “talk” to one another, so to speak. But the constant movements of the actors into different pairings allow for some searing expository work, especially in the case of Clarence “high-tech lynching” Thomas, and Anita Hill, who was called a liar, a fabulist, a whore, and, above all, traitress of the advancing race. Recordings of the hearings sometimes cut through the human performance in “The Ford/Hill Project”; we hear one senator’s voice speaking at both hearings. (I think it was the Democrat Patrick Leahy, of Vermont.) The recurrence of the voice across nearly three decades renders the government a frieze of unchanging agents, power entrenched. The years 1991 and 2018 are made to rhyme. We do not need to see the suits that Hill and Ford faced to understand this show’s argument against certain soothing myths about the inevitability of progress. The script emphasizes the fatuousness of procedure, how childish the …








