The White Card – Northern Stage, Newcastle upon Tyne

Writer: Claudia Rankine

Director: Natalie Ibu

The play opens in an achingly trendy apartment as a wealthy construction magnate, Charles, and his society hostess wife, Virginia, are preparing to greet a rising black photographer, Charlotte, with a view to commissioning work from her for his foundation. The walls are covered in representations of famous works of art, all documenting the suffering of black Americans. Also present is painfully trendy art dealer, Eric, who is keen to make the match between artist and patron. Charlotte’s work is to photographically recreate racist atrocities. He advises them that she is protective of her work and selective about her patrons. He does not foresee any problems but…

The first scene of the play details the ensuing dinner party, and its descent into chaos and conflict. Charlotte graciously tries to ignore the moments of casual racism and the patronising tone as the couple set out their woke credentials and their empathy for the plight of black people. Meanwhile, their activist son, Alex, tells Charlotte that Charles’ company builds private prisons and sets out to demonstrate their hypocrisy, revealing that he let his other son go to prison, rather than using his connections to help him because he didn’t fit with his ideals. Virginia becomes increasingly brittle and waspish, ultimately delivering an unforgivable comment that shocks and silences everyone.

There is much debate about the work of artists who are highlighting the plight of black Americans and the couple ultimately reveal an artwork they have acquired that they think is in tune with Alex’s activism and Charlotte’s work. Both are profoundly shocked that the couple should have misunderstood them so profoundly and Charlotte is devastated, graphically signalling her pain at what they see in her work.

In a second scene, set a year later, Charles has arrived at Charlotte’s studio to find she has changed her focus completely. Disturbed by her encounter with them, she has re-evaluated her work and has moved on to putting the white man, specifically him, into the narrative. He is shocked and almost becomes violent, resisting the full understanding of his white privilege until, in a final dramatic coup, he realises the power and significance of his own skin.

This is a beautifully written play. Rankine’s experience as a poet illuminates the dialogue without its becoming self-consciously poetic. The discussion cleverly communicates both facts and characters.

A first-rate cast keep the action flowing in Natalie Ibu’s polished and punchy production. Nick Blakeley is a suitably oily Eric. CJ Coleman is convincing as an edgy, committed Alex, puncturing his parents’ pomposity, whilst conspicuously enjoying the privileges of their wealth. Kate Copeland is a wonderfully aristocratic Virginia, calling to mind the eponymous US state in her resistance to the change for which Charles and Alex are striving. Make no mistake, the names of the characters are no coincidence. Matthew Pidgeon’s Charles is a performance of real power, even a suppressed violence, as he goes on a tortuous journey towards understanding himself. However, it is Estella Daniels’ performance as Charlotte that really stands out. She has a magnetic stage presence and deals with the complex and demanding role with conviction, intelligence and style. She too makes a journey and the audience cannot fail to travel with her.

The scenery is highly effective as is the dramatically staged scene change that underlines the narrative and emphasises the play’s message about the observer being part of the narrative, by briefly bringing the audience into the scene.

The White Card is a play about a vitally important issue, but it is a gripping drama that, in its depth and humanity, never stops being about people.

Runs until 14 May 2022.