One Voice Vents the Anger of Many at A.R.T. Show

Fires in the Mirror: Crown Heights, Brooklyn, and other Identities by Anna Deavere Smith, at the American Repertory Theater

In the beginning there was a place called Crown Heights, New York. Crown Heights was a relatively peaceful community composed predominantly of Blacks and Jews. In August, 1991, a Jewish man ran a red light, hit another car and then jumped a curb, crushing a young Black boy. Later that same key, in a different part of Crown Heights, about 20 Black youths approached a Jewish scholar and stabbed him to death. These two incidents brought Crown Heights to the brink of disintegration.

Out of the Crown Heights crisis comes Fires in the Mirror, a one-woman show conceived, written and performed by Anna Deavere Smith. Part of a series by Smith called On the Road: A Search for American Character, the performance is composed entirely of verbatim excerpts of interviews conducted by the play-wright.

Smith chose the interviews in the attempt to represent every perspective on the incident. She spoke with participants, eye witnesses, residents and spiritual and political leaders on both sides of the conflict.

To her credit, Smith does not at any point take sides or make judgments. Instead, she does what is essential to solving the conflict and easing the tension--she presents both sides wholly and honestly to show that there is no clear right or wrong in the situation. For Smith, preventing similar conflicts in the future requires understanding among the residents of Crown Heights.

Though the social consciousness of the work is highly commendable, Smith's artistic ability stands proudly on its own, speaking for itself in a bold, fresh voice.

In from and presentation, Smith does not claim to be making any breakthroughs. She borrows freely from the tradition of ventriloquism and stand-up comedy. Each character is denoted by a different voice and a minor change of clothing--in this case various headwear and an assortment of jackets. She takes her words verbatim from her characters' real-life counterparts.

The set is simple: a recliner, a desk, a table and a large screen which identifies the speaker and title of each monologue and shows various images taken from the scene of the dispute.

In themselves none of these characteristics are particularly striking or innovative. But Smith's talent shows in her acting and her organization of the different narratives. In tune with the moods and reactions of the audience, she warms them up with a few monologues not directly related to the incident but important for allowing the audience, to adjust to the flow and from of the performance. She subtly moves to the subject of the violence in a way which emotionally enthralls the audience, drawing them unwittingly into the battle.

Smith's lines are humorous and witty; her acting is pure entertainment. She skillfully recreates conversational tone and diction, complete with all the repetitions, stutters and facial expressions. She also has a precise sense of timing.

There is no question why this performance has had sell-out crowds and standing ovations everywhere. Anna Deavere Smith handles everything at once--playwriting, performing, directing. She said of her work: "The resulting performance is meant to capture the personality of a place by attempting to embody its varied population and varied points of view in one person--myself." And so it does, and it demands to be seen.