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American Gothic.(Southern Promises)(Theater review)

The New Yorker

| September 22, 2008 | Als, Hilton | COPYRIGHT 2008 All rights reserved. Reproduced by permission of The Condé Nast Publications Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

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 ...

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