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• W2048224500 abstract "Reviewed by: Jails, Hospitals & Hip Hop Ginger Strand Jails, Hospitals & Hip Hop. By Danny Hoch. Performance Space 122, New York City. 28 March 1998. Click for larger view View full resolution Danny Hoch in Jails, Hospitals & Hip-Hop, directed by Jo Bonney. Performance Space 122, New York City. Photo: Paula Court. Among the spate of performers creating one-person shows, Danny Hoch stands out not only for the skill and range of his impersonation, covering a colorful cast of characters, but for the quality of his writing, an asset absolutely crucial but often overlooked in the solo show genre. Like his earlier piece Some People, which won an Obie Award in 1994, Jails, Hospitals & Hip Hop introduces viewers to a [End Page 523] wide range of characters and their worlds. But the new show expands the scope geographically as well as linguistically. Hip hop’s multilingual world unites a disparate group of individuals, including a Cuban engineering student with a love for rap, an HIV-positive prisoner with a grudge, a Nuyorican teenager who has been “accidentally” shot by the police, a prison guard upstate who dreams of opening a gift shop, a white teenager in Montana who plans to move to the ghetto and become a rap star, and a rap star contemplating the effects of his violent lyrics. Hoch even appears as Hoch to relate how he was dismissed from a guest appearance on Seinfeld when he refused to do his role—that of a social-climbing towel boy at Jerry’s gym—in an Hispanic accent. Transformations between characters are achieved with a series of simple props—caps, canes, a broom—taken from two tall filing cabinets upstage. These, with the exception of a black multipurpose cube, are the only furnishings on stage. Even with this simplicity, Hoch vanishes completely into his characters, unlike many solo artists who maintain a kind of epic distance in their roles. But Hoch is a moralist: getting his audience to take his characters seriously enough requires that he inhabit them completely. Even as he abjures postmodern self-consciousness, Hoch’s performance unravels the notion of race, only to see it creep back, more subtly and powerfully than before. A character who has been arrested for illegally selling Boss Simpson and O.J. Simpson t-shirts relates how the arresting officer threw him to the ground, demanding, “What are you?” The answer is not immediately evident because when it comes to skin color, the character explains, “I’m white like Bill Clinton.” But his repeated insistence that there is no difference between his entrepreneurial ventures and those of a little girl he saw selling lemonade in a commercial draws attention to the very real differences race imposes, even without existing tangibly. He appears white and acts white, but neither makes—or unmakes—a difference. Addressing these issues head-on, Hoch’s piece does not fail to take account of the fact that hovering behind his own work is the problematic figure of the minstrel. One can’t help but see at least a part of Hoch in the white kid from Montana who tells an imaginary Jay Leno that his “real” skin color is the color of his freckles, not the skin around them. As pathetic and even frightening as the teenager’s gangster daydreams come across, his attempt to define race as the figure rather than the ground of identity arouses sympathy. Furthermore, Hoch’s show poses the question of what language can be spoken by one whose given language is that of the oppressor. Throughout the piece, white characters are marked by the absence of a vibrant, expressive language of their own. Even the prison guard uses up his therapy session by telling the therapist a joke he has borrowed from an inmate. Perhaps more personal for Hoch, whose mother was a speech therapist, is a severely speech-impaired character who thanks his therapist for letting him use his rap albums to learn to speak. Like the Montana teenager, he has found a much-needed language in rap. Anticipating the temptation to view hip hop as a utopian solution to race conflict, Hoch opens the piece with a rap that..." @default.
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• W2048224500 title "Jails, Hospitals & Hip Hop (review)" @default.
• W2048224500 doi "https://doi.org/10.1353/tj.1998.0121" @default.
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