Spinning Into Butter Stirs Up the Issue of Racism
Bailey Triggs
Issue date: 9/24/02 Section: Arts
Imagine for a moment that you're on the other side of the student-administrator relationship. You've recently moved to Vermont to become the Dean of Students at Belmont College when your professor boyfriend (and only real friend at the college) dumps you when his (surprise!) long-term girlfriend returns from sabbatical. As if your personal life wasn't giving you enough trouble, you learn that one of the African-American students at your school has been receiving racist, threatening notes. It is your job to address the issue.
At your side to "help" you is an administrative staff whose only concern is saving the college's face by issuing anti-racist memos and holding forums. Welcome to the world of Dean Sarah Daniels, the lead character in the TheaterWorks production of Spinning Into Butter (running until October 6th).
While the play might be set at the fictitious Belmont College in Vermont, it could quite easily be set at any East Coast, predominately upper class and white liberal arts college (Trinity cough, cough).
The questions the play raises are hot ones on college campuses nationwide: how can colleges work to contribute to a better racial environment when the student body is so homogeneous? Furthermore, how can schools be sensitive to the needs of racial groups who are in the minority without either objectifying or patronizing them?
The play deals with the subject of racism in a way that goes deeper than college diversity statistics, to touch more broadly on the issue of racism in one's own personal life.
As the plot unfolds, Dean Daniels reveals that she harbors her own repressed racist sentiments.
It is interesting to note that the entire play is set in Dean Daniels's office and Simon Brick, the African-American student who has been receiving the threatening notes, never appears onstage.
In this way, playwright Rebecca Gilman is able to underscore her theme of racial objectification. Although all of the administrative staff's energy is focused on dealing with the threats made to Simon Brick, no one but Dean Daniels has actually taken the time to speak to Simon about the issue, and even she has avoided a true in-depth discussion with him. All decisions made regarding Simon's well-being are made based purely on assumptions, and even more so after the somewhat surprising revelation in the second act regarding the author of the threatening notes.
At your side to "help" you is an administrative staff whose only concern is saving the college's face by issuing anti-racist memos and holding forums. Welcome to the world of Dean Sarah Daniels, the lead character in the TheaterWorks production of Spinning Into Butter (running until October 6th).
While the play might be set at the fictitious Belmont College in Vermont, it could quite easily be set at any East Coast, predominately upper class and white liberal arts college (Trinity cough, cough).
The questions the play raises are hot ones on college campuses nationwide: how can colleges work to contribute to a better racial environment when the student body is so homogeneous? Furthermore, how can schools be sensitive to the needs of racial groups who are in the minority without either objectifying or patronizing them?
The play deals with the subject of racism in a way that goes deeper than college diversity statistics, to touch more broadly on the issue of racism in one's own personal life.
As the plot unfolds, Dean Daniels reveals that she harbors her own repressed racist sentiments.
It is interesting to note that the entire play is set in Dean Daniels's office and Simon Brick, the African-American student who has been receiving the threatening notes, never appears onstage.
In this way, playwright Rebecca Gilman is able to underscore her theme of racial objectification. Although all of the administrative staff's energy is focused on dealing with the threats made to Simon Brick, no one but Dean Daniels has actually taken the time to speak to Simon about the issue, and even she has avoided a true in-depth discussion with him. All decisions made regarding Simon's well-being are made based purely on assumptions, and even more so after the somewhat surprising revelation in the second act regarding the author of the threatening notes.