Kendall, Peter Mark

The writer James Baldwin and the poet Nikki Giovanni are at the center of a crackling work of verbatim theater at the Vineyard Theater.If the year weren’t in the title, you might come close to guessing it from the architecture of the sunken space: a conversation pit lined with couches upholstered in burnt orange, with blood orange carpeting to match. There’s a comfort to the room, a midcentury modern hospitality that invites you to take your shoes off, have a drink, light one cigarette after another, and talk and talk as you try to set the world to rights.And so the writer James Baldwin and the poet Nikki Giovanni do in “Lessons in Survival: 1971,” a crackling work of verbatim theater starring Carl Clemons-Hopkins and Crystal Dickinson. A time-capsule excavation of a moment in 20th-century Black American activist-intellectualism, it recreates a sprawling interview that Giovanni did with Baldwin for the WNET television talk show “Soul!” when he was 47, famous and living in France, and she was 28 and just getting started.“Jimmy,” Giovanni says, in the play’s first line, “I’m — I’m really curious. Why did you move to Europe?”It’s so potent, that familiarity: calling him Jimmy, not Mr. Baldwin. Before he even opens his mouth, he becomes for us not a god visiting from the pantheon but a human being. And in the question that her question implies — Why did a continent an ocean away seem like a healthier place for you, a Black American, to live? — we hear her set up the framework for an ever-thoughtful, sometimes contentious, particularly American dialogue.Directed by Tyler Thomas at the Vineyard Theater, this engrossing 90-minute show arrives at the end of a season of civic and social reckonings on New York stages, which puts it at risk of seeming like an eat-your-vegetables experience. It is emphatically not.Conceived by Marin Ireland, Peter Mark Kendall, Reggie D. White and Thomas, and created with the theater collective the Commissary, it was presented in an earlier version online during the industry shutdown. In person, it is the kind of electric theater that charges audiences with energy: a meeting between public intellectuals wrestling rigorously with the culture, and clashing with each other along the way. The drama is built in. All we have to do is listen.The actors are listening, too, wearing earpieces that feed them the audio of the interview, whose words they speak with the original stammers and hesitations. We hear, briefly, the voices of the real Baldwin and Giovanni captured on that old recording, but the performance is about channeling their essence, not impersonating them.So it doesn’t matter, really, that Clemons-Hopkins — tall, broad-shouldered, bearded, familiar to fans of the HBO Max series “Hacks” as the endearing workaholic Marcus — has such a different physical presence than Baldwin. It’s the writer’s mind that this show is after.Dickinson is riveting as the lesser-known Giovanni, a poised young Black woman with a soft surface and a spine of steel. Respectful of Baldwin, she belongs to a different sex and generation than he does. And she challenges him on his stubborn sympathy for notions of Black manhood that she believes must change.“Be careful as a woman what you demand of a man,” he warns, but she is having none of it — a resistance that got her finger snaps of approval from the crowd at the performance I saw.Baldwin and Giovanni are united, though, in having no use for white critics, so take my admiration for this show with that grain of salt. But do go, and do pause in the lobby, where one corner has been turned into an installation by You-Shin Chen, the show’s set designer, and Matt Carlin, its props supervisor, with a loop of period video clips full of famous Black faces and retro advertising (by Josiah Davis and Attilio A. Rigotti) playing on a vintage console TV.It will transport you straight back to the era of the interview, when Giovanni and the expatriate Baldwin were determined that Black Americans should take rightful ownership of their white-run country.“I do know that we have paid too much for it to be able to abandon it,” he says, with an eye on the ancestors. “My father and my father’s fathers paid too much for it.”“I’ve paid too much for it,” she says. “I’m only 28.”Lessons in Survival: 1971Through June 30 at the Vineyard Theater, Manhattan; vineyardtheatre.org. Running time: 1 hour 30 minutes. More