To produce Children of a Lesser God, you must find actors who are deaf or hearing impaired. Playwright Mark Medoff actually insists on it.
Mamet clearly wanted to write a play that employed no technical hi-jinks to distract from the text; and because he knew he wouldn’t be in the room, he used the power of contractual law to ensure that this vision was respected. The rider is his sole input into the process which, all things considered, isn’t very much. The stage directions in Race aren’t elaborate (Mamet’s stage directions rarely are) and his rider doesn’t interfere with staging or the design of lighting and costumes. And while he forbids trick sets, he doesn’t offer a counter-suggestion, leaving the set designer free to do what he / she will.
Race by David Mamet continues at Canadian Stage in Toronto until May 5, 2013. For tickets / info visit www.canadianstage.com.