He plays both George, a blindingly blonde and easily upset heir who has arrived to a cotton plantation up for sale, as well as his bidding rival M’Closky, a tongue-slithering, moustachioed villain with a reputation for whipping slaves. “You really save on make-up”, he says, observing how blackface has disappeared since the Victorian era.Īn ingenious transformation, dressing him in whiteface make-up, allows Martins not simply one nimble performance in Boucicault’s story but two. He is literally depressed by an artform, the history of which gets summed up by the arrival of a bad-tempered version of Boucicault (Rory Nolan). Sitting at an actor’s dressing table, he lists off the demands of representativeness, the pressure to write black characters warped by trauma and addiction. Jacobs-Jenkins (played by an impressively suave Patrick Martins) has decided to write a new version of The Octoroon as a therapeutic exercise.
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