endorsing violence. Lorenzo articulates the lack of empathy that Christianity has for the Black community, calling it “the white God” who ignores others’ suffering at the hands of the irrational. He accuses the reverend of praying to a god that only cares for those who are white and asserts that it is this god who is responsible for the destruction of Black lives. Morality Baldwin challenges the common beliefs of morality between white people and black people. With whites as the targeted audience, he associates his black characters with traits commonly associated with whites, such as “godliness, courage and braggadocio." His white characters possess the weaknesses stereotypically attributed to blacks, such as “lust, lack of moral strength, and violence." By situating his characters to reflect the opposite of what is expected by his audience, Baldwin places the viewers in a position to acknowledge the complexities of human nature. His restricting the white community to one dimension of human nature, as the white community does to blacks, compels the white audience to come face-to-face with how humanity may be stripped by the simple act of shrinking one’s complexities. Selected productions In 1992 the Royal Exchange, Manchester staged a production directed by Greg Hersov with Paterson Joseph, David Schofield, Nicholas Le Prevost and Wyllie Longmore. In 2004, Talawa Theatre Company co-produced the play under Paulette Randall's direction with New Wolsey Theatre in partnership with the, then, Tricycle Theatre. The play was well received. See also Civil rights movement in popular culture "Baldwin's Blues for Mister Charlie," by Tom F. Driver, Christianity and Crisis 24.11 (June 22, 1964) pp. 123-26. Printed also in The Village Voice, (June, 1964); and in Negro Digest 13.11 (Sep. 1964) pp. 34-42. Available online at https://books.google.com/books?id=77IDAAAAMBAJ&dq=%22Tom+F.+Driver%22+Blues&q=Driver#v=snippet&q=Driver&f=false. This thrice-printed favorable review of the play was initially written for The Reporter Magazine, which turned it down because Baldwin had fallen out of favor with the magazine's publisher, Max Ascoli. References 1964 plays Civil rights movement in popular culture Plays by James Baldwin African-American plays Plays set in the United States