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But in a rehearsal process, itʼs very common for assumptions to be made about the direction of a play with a clear, liberal ideological bias.
Sticky produced a short play by Rehana Mirza called “The River Gives,” about a white American guy and a Latina American woman on a sinking South Indian island trying to save the indigenous people. He simply wanted to move these people, regardless of their attachment to their home, land and lifestyle.
But by refusing to make the white guy a malicious clown, by declining to present the conservative as one-dimensional, the point was driven home harder.
* * * When Mike Niederman, my liberal counterpart, got to the Poetry Club on the night of Super PAC Sticky, the vibe was convivial as always.
All the problems that seemed so easy to solve in my early twenties, if only people cared and were reasonable, had, by my early thirties, turned into intractable dilemmas—not to be wished away by the waving of a progressive wand.
But throughout that time I had serious doubts about the progressive program. I abhorred political correctness and the stifling effect it had on our discourse; I believed that the Constitution meant what it said and ought not be stretched a mile wide and an inch deep.