The
Whipping Man
By
Matthew Lopez
Marin Theater Company,
through April 28.
On Sunday we saw Matthew Lopez’s The Whipping Man at the Marin Theater
Company. The play has been well received, and Lopez is a promising young playwright. The conceit of the play is its appropriation of
Passover celebrated by two Jewish house Negroes (Simon and John) in the ruins
of their former home in Richmond Virginia on April 14, 1865. The date is significant because it is the day
of Lincoln’s assassination, just five days after the surrender of the
South. The third member at this Seder
table is the son of the household who returned in the middle of the night at
the beginning of the play, with a shot up leg. The leg is amputated just below
the knee with a saw by the former slaves before the festivities.
You might ask “Jews in the South?” Well, yes, there was a Jewish population of
approximately 25,000 in 1860 in the South, and those with means owned
slaves. Southern Jewish gentry tended to
congregate in the cities, which means they owned “house negroes” not “field
negroes” as Malcolm X would have it. Malcolm X didn’t approve much of house
Negroes.
Harriet Beecher Stowe’s novel Uncle Tom’s Cabin, published in serial
form in 1851-1852, sold 500,000 copies world wide by 1853. The book has been credited by some with being
responsible for the election of Abraham Lincoln, and it was instrumental in fueling the abolitionist movement leading to the end of slavery
in the United States in 1865. Wikipedia's encapsulation is: “Stowe's melodramatic story
humanized the suffering of slavery for White audiences by portraying Tom as a
Christlike figure who is ultimately martyred, beaten to death by a cruel master
because Tom refuses to betray the whereabouts of two women who escape from slavery.” An early (1852) anonymous reviewer of the
book in the Boston abolitionist publication, The Liberator, took exception to the saintly Christian pacifist
portrayal of Uncle Tom: “Uncle Tom’s
character is sketched with great power and rare religious perception. It
triumphantly exemplifies the nature, tendency, and results of CHRISTIAN
NON-RESISTANCE. We are curious to know whether Mrs. Stowe is a believer in the
duty of non-resistance for the White man, under all possible outrage and peril,
as for the Black man….”
In 1949, James Baldwin wrote an
influential essay on Uncle Tom’s Cabin, titled “Everybody’s
Protest Novel,” which excoriated the novel as a political pamphlet. Baldwin argued that protest novels are
inherently sentimental, and that sentimental art is inherently dishonest. Thereafter, it was all downhill for poor
Uncle Tom who came to be a derogatory epithet for excessive subservience and
acceptance of a racially defined lower-class status, to the point of collaborating
with the oppressor, and being a traitor to one’s own. It’s what resonates in Malcolm X’s
characterization of the “house negro.”
Well this play has two house Negroes: the
level headed, powerful, illiterate but wise Simon; and the younger,
never-do-well, thieving, intelligent, literate, self-educated, and angry
John. But neither one of them has a trace of
the pejorative “Uncle Tom.” John was a
rebel and was whipped for it. Simon was
whipped too, but it does not sound true and it is not believable in the
play. Simon is like the original
“paragon of Christian virtue” Uncle Tom, except he is a paragon of Jewish
virtue. His Jewish faith is more
constant in the face of disaster than Caleb’s, the prodigal soldier son of the household. [Not the only son, but that is another
story] Simon raised both Caleb and John,
and he is the most powerful of the three.
He is powerful like a good version of Samuel L. Jackson’s Stephen in Django Unchained. He runs the show.
If Simon’s power comes
from his Judaism, John’s (and what kind of meshugganah Jewish name is that?)
comes from his learning and intelligence.
He knows that the Bible commands the Israelites that they may buy slaves
from “the nations that surround you, … but over your brothers the people
of Israel you shall not rule, one over another ruthlessly.” Leviticus 25:
44-46.
"Were we slaves ..., or were we Jews," asks John. He has within him the seeds of the Civil Rights movement, the seeds of affirmative action.
Simon is promised his freedom by his master, who sold his wife, and who may be dead; but John knows that, as to Hebrew slaves, the bible commands: “in the seventh year you must let them go free. And when you release them, do not send them away empty-handed. Supply them liberally from your flock, your threshing floor and your winepress. Give to them as the Lord your God has blessed you. Remember that you were slaves in Egypt and the Lord your God redeemed you. That is why I give you this command today.” Deuteronomy 15:12-18.
"Were we slaves ..., or were we Jews," asks John. He has within him the seeds of the Civil Rights movement, the seeds of affirmative action.
Simon is promised his freedom by his master, who sold his wife, and who may be dead; but John knows that, as to Hebrew slaves, the bible commands: “in the seventh year you must let them go free. And when you release them, do not send them away empty-handed. Supply them liberally from your flock, your threshing floor and your winepress. Give to them as the Lord your God has blessed you. Remember that you were slaves in Egypt and the Lord your God redeemed you. That is why I give you this command today.” Deuteronomy 15:12-18.
Here is the legislative history behind all of that.
Gives a whole
new meaning to being "on the side of the angels” don’t it?
The play is extended through April 28. Go see it and let me know what you think the implications might be of this resurrection of Uncle Tom.





