Lights up, and there's Ochs, standing front and center in the company's intimate studio space. "I'm afraid I might be a racist," she confesses. Lights out. "No, wait," she exclaims, "That isn't the end!" It's only the beginning, to be sure, and yet, in another sense, by the time the show does end some 79 minutes later, sadly enough, that opening line rings all the more true.
We don’t really need Ochs to remind us that there can be such “truth in comedy.” However open-minded or well-meaning, are all whites the beneficiaries of “privilege,” unwittingly prejudiced as a result of their upbringings in a society marred by “systemic racism” and “cultural appropriation”?
Along her journey to self-realization — or her “period of awkward self-examination,” as Ochs puts it — the actress embodies a multitude of characters, both past and present: herself as a young girl and her mother; Liuzzo and her grown daughter; a pretentious New York magazine editor and a bigoted Southern sheriff. In her most touching moment, she’s a black spectator on the set of “Selma.” At her funniest, she’s the imaginary Dr. Racism, a “creepy amalgamation” of all her disconcerting research.
From one extreme to another, Ochs holds our attention with a singular purpose, and Howard’s direction maintains a consistently steady momentum. The production values are minimal in terms of scenery or costumes, but Anney Reese’s video design and Michael Haverty’s projections are exceedingly effective.
It’s too bad that the show doesn’t include any of Ochs’ clips from “Selma” (presumably due to copyright issues). Then again, whatever the film’s impact on her career as a professional actress, that’s less the point of “White Woman in Progress” than the personal discoveries she makes as a human being.
“White Woman in Progress”
Through April 9. 8 p.m. Thursdays-Saturdays; 5 p.m. Sundays; 2 p.m. Saturday (April 1 only). $15-$22.50. 7 Stages, 1105 Euclid Ave., Atlanta. 404-523-7647, www.7stages.org.
Bottom line: A thought-provoking comedy about some sad truths.