Interview: Uncover the Inspiration and Writing Process of Charles White's UNENTITLED Off-Broadway

59E59 Theaters and The Negro Ensemble Co., Inc. are presenting Unentitled, written by Charles White and directed by Florante Galvez. Unentitled, currently in previews in 59E59’s Theater B, officially opens July 22 for a run through August 6, 2023.

Set in late 2008 against the backdrop of the Obama campaign as a backdrop, Unentitled centers on an upper-middle class African American family as they wrestle internalized racism, class anxiety, and each other when a job loss and a revelation about their past threatens to upend their comfortable lives. 

The cast of Unentitled includes C. Kelly Wright (Jazz), Justine Hall (The White Blacks), Adrain Washington (Pride Fighter), Ron Scott (“Wu-Tang: An American Saga”) and Gil Tucker (“Cop Shop”).     

Read BroadwayWorld's interview with playwright Charles White below!                          

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What inspired you to write Unentitled, and when did you begin writing it?

I wanted to explore class distinctions in the black community and avoid the old tropes of thugs, deadbeat dads, drug addicts, etc.. I started writing Unentitled ten or eleven years ago, and it was initially conceived as a two-character, ten-minute play showcasing a conflict between the protagonist, a high achiever of humble origins, and his upper middle class best friend and brother-in-law.  

How did everything that our country has gone through socially and politically in the last decade-plus influence your writing process as you set the play in 2008, during the Obama campaign?

I set the play during Obama’s initial Presidential campaign in order to show the effects of the 2008 recession on an upper middle class black family. I also wanted to briefly highlight some diversity of opinion about Obama in the black community. 

How has it been working with this cast and company in bringing Unentitled to the stage?

The cast and company are totally dedicated to this project. They have all put in the work and improved the play. In fact, based on insightful questions from the actors, director, and dramaturg, I have rewritten several scenes and added a new scene. That’s teamwork and it’s been extremely rewarding. 

What do you hope that audiences take away from this play?

I want audiences to understand that the black community is not monolithic. There are different opinions, attitudes, beliefs, economic classes, etc. – just like any other racial or ethnic group.   

Do you have any final thoughts you’d like to share?

Developing this play has been a great experience. I hope audiences enjoy it.

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