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When Robert Wilson chose the brilliant black performer Sheryl Sutton for his 1970 show "Deafman Glance," he was doing more than following his penchant for strong casting: he was purposefully incorporating blackness into America's primarily white avant-garde theatre. Wilson--Southern born and white--was also subverting the stereotype of the black woman as a domestic Mammy: dressed in a nineteenth-century-style floor-length black dress and sporting an Afro, Sutton's character murdered her own children. After "Deafman Glance," Sutton continued to be a fringe pioneer. She was involved with the now defunct New York-based Squat Theatre, home to many Eastern European dissident ...