Theatre in America 

Theatre in America
Theatre in America

There are no Broadway plays being performed in New York right now, or school productions for parents to attend or even very many movie theatres open to provide distractions, but there is theatre being seen and promoted every day on TV by our politicians, BLM members, and media outlets.  

Say Their Names is a rallying cry to entice patrons into the theatre from the streets, but only names of a certain few people of color can be clearly heard.  Once at the box office, instead of ticket stubs, patrons were given crisp bills courtesy of the American taxpayer; and if your skin had any color to it, an extra bill was added. You’re welcome.  

The opening scene was glorious, thanks to Democratic mayors of certain major cities who organized flash mobs to dance with fire, spray paint, machetes, and guns. What a show it all was, and no expense was spared as they practiced their graffiti on private business walls, improved their throwing skills, perfected statue and property demolition, and even defecation on demand!   

Masks wearing was enforced and, together with hoodies, came in very handy when it came to hiding the identities of the actors later. Maskmakers were original and varied in showcasing their skills, with dead law enforcement and skulls and crossbones being popular, while religious topics became the subject of lawsuits. Nance got masks to match her clothing, while Maxine wore those the color of her heart.  

One of the scenes was set around five little girls dressed as grown-ups, sitting around a table chatting crazily about racism, providing new definitions, and actually sounding as though they were experts on the subject. They stayed a little too long to be taken seriously by anybody with half a brain. 

The spotlights on actors piping up from stage left with names of the much more numerous black-on-black victims in Chicago, Atlanta, Minneapolis and other cities were extinguished one-by-one until the stage was dark. Hundreds of names were spoken, including babies and children caught in the crossfire.   

Throughout the performances, Biden’s voice interjected with the frail but sincere-sounding whispery intonations that he had used when he declared himself to be a unifying moderate during the months leading up the 2020 elections. Although creepy to hear, his presentation contrasted beautifully with the strong virile verbiage of the other major candidate. Magnificent casting of diametric opposites, although an unproduced re-write captured his true socialistic plans much better.    

I anticipated the crescendo would be related to Jan 6 protests at the Capitol building in Washington, but I was wrong. It really took place when Tim Scott was called Uncle Tim on social media after his outstanding and evenly metered response to Biden’s speech to the world outlining how many trillion dollars are being spent to increase the size of government, keep the U.S. divided by races, limit gun access, increase taxes, fight against Covid, care for unlimited numbers of migrants, defund police, and so many other issues.  

A few Federal employees in the audience were given a standing ovation for volunteering to head to the Mexican border for six paid weeks to help with Biden’s challenges there. He had counted on his masked pantsuit-wearing subordinate from California to take care of the non-crisis, but she had apparently been busy elsewhere, perhaps getting her teeth cleaned so that when she cackled with her mouth wide open, the media could get a better picture. The American public was being taught which emergencies were considered funny by our government! 

When the curtain came down, actors playing law enforcement were kept pretty well hidden behind them and never allowed to even take the usual bows, because the finale was ruined by critical race theorists rushing the orchestra section, with Democratic politicians and thousands of children in tow, running over members of the GOP in the process.  

Finally, instead of the usual huge bouquet of red roses, co-producer Nance was presented with a lovely pair of red scissors so she wouldn’t have to ruin her nails tearing up any more Republican speeches or legislation on the world stage. That was so very tacky of her, an observation reiterated by the press the next morning when they negatively reviewed the production, with special attention to the miserably off-pitch siren songs warbled by Maxine and Nance to BLMers.    

Theatre Rating: F 

By:  B. Walsh 

Previous articleFareed Zakaria: A second lockdown in India is ‘impossible’
Next articleBiden’s report card: Evaluating the administration’s performance | CITIZEN by CNN