[Tribeca 2024] SLAVE PLAY. NOT A MOVIE. A PLAY. -- BTS Documentary Allows Jeremy O. Harris's Powerful Work To Speak for Itself

Review by Sean Boelman

Photograph Courtesy of HBO

Jeremy O. Harris’s Slave Play was one of the most buzzed-about works in the theatre community upon its off-Broadway debut in 2018, so it’s shocking that it’s taken more than five years for a behind-the-scenes documentary to be made about it. That documentary -- Slave Play. Not a Movie. A Play. — reminds audiences of the play’s explosive moment, but will work best for audiences already in the loop about this incredible work.

The documentary, directed by Harris himself, follows him as he workshops and produces Slave Play, the record-breaking, Tony Award-nominated play that served as his big break. Those unfamiliar with Slave Play are in for a surprise with the incendiary, experimental work of metafiction.

Long stretches of the documentary are made up of rehearsals of Slave Play, with Harris occasionally interjecting to guide his actors. It’s clear that this aims to allow the work to speak for itself, which is refreshing in many ways. The audience shouldn’t need critics or Harris’s peers to ramble on about how impressive and vital his work is — the accomplishments of the play and the quality of its words should be more than enough to convince us of its merit.

Because of this approach, it’s also incredibly easy to admire Jeremy O. Harris for his tremendous artistry — both as a playwright and a director. The recordings of rehearsals make it clear that Harris sees theatre as a collaborative process. The freedom he gives to his actors allows the work to feel all the more powerful and authentic.

Photograph Courtesy of HBO

However, the documentary largely lacks the perspective of these actors. Although we do get introduced to the performers in brief sections where they talk about their origins and backgrounds, these only serve to humanize them. They don’t quite go so far as to provide a deeper connection to their characters on stage.

There is also something to be said about watching so many portions of a work out of context. Those familiar with the source material will be able to fill in some of the narrative and thematic gaps. Since Harris is so anti-exposition, it is up to the audience to make sense of a lot of what they see. Granted, Slave Play isn’t exactly subtle in its messaging, but to trust audiences with this — especially today, when media literacy isn’t at its best — is more than a little bit bold.

This approach also doesn’t make for the most cinematic presentation. Harris tries to use some gimmicks, like split screen, to make the documentary a bit more engaging, but it’s not too visually ambitious. How invested the viewer stays in this experience will hinge entirely on their interest in the source material.

Ultimately, this is perhaps the biggest problem with Slave Play. Not a Movie. A Play. It’s a documentary for people who already know and admire Slave Play. You don’t necessarily have to have seen Jeremy O. Harris’s opus to appreciate this documentary, but you need a pretty solid familiarity with it. But for those who already admire it, this documentary will give you deeper insight into and appreciation for Harris’s process.

Slave Play. Not a Movie. A Play. is screening at the 2024 Tribeca Festival, which runs June 5-16 in New York City.

Rating: 3.5/5