In 'Straight White Men,' A Play Explores The Reality Of Privilege : Code Switch One of the hottest playwrights in American theater right now is 40-year-old Young Jean Lee. The Korean-American dramatist talked to NPR's Neda Ulaby about her new play opening this week off Broadway.

In 'Straight White Men,' A Play Explores The Reality Of Privilege

  • Download
  • <iframe src="" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player">
  • Transcript


"Straight White Men" - that's the new play by one of the hottest playwrights in American theater right now, 40-year-old Young Jean Lee. NPR's Neda Ulaby talked with the Korean-American dramatist about her new show which opens tonight off Broadway.

NEDA ULABY, BYLINE: The "Straight White Men" of straight white men aren't what you might expect. Near the beginning of the play, two adult brothers play a board game. It's called privilege.


UNIDENTIFIED ACTOR #1: (As character) Ah, excuses card.

ULABY: It's a homemade family game like Monopoly but with the tables turned. This family's super liberal and progressive. Their game makes fun of their own straight, white, male privilege.

UNIDENTIFIED ACTOR #1: (As character) What I just said wasn't racist slash sexist slash homophobic because I was joking. Pay $50 to an LGBT organization.


ULABY: Playwright Young Jean Lee enjoys subverting stereotypes. And she was interested in a real problem. What do you do when you've got privilege, and you don't want to abuse it? She wanted to create "Straight White Men" on stage to think about these things.

YOUNG JEAN LEE: And I know they're out there. I mean I know them personally. Men are changing.

ULABY: Lee writes about everybody - straight white men, Native Americans, Asians. She even wrote a play actually called "Untitled Feminist Show." And she did something hard for a non-black writer to do in a play from 2008 called "The Shipment."



AUNDRE CHIN: (As Omar) Hi, Michael.

ULABY: Lee developed "The Shipment" with a group of five African-American actors. That's her process - to write plays using her cast to improvise scenes and dig out truths. "The Shipment" got rave reviews pretty much everywhere it played. It's partly an absurdist send-up of stereotypes you see over and over in movies and on TV.


JENNINGS: (As Michael) This sucks. Nobody wants to buy drugs from us.

PRENTICE ONAYEMI: (As Desmond) I think something suspicious is going on. Usually everyone wants them. Let me investigate. Crackhead John.

JENNINGS: (As Crackhead John) Yes, Desmond.

ONAYEMI: (As Desmond) Do you know why nobody wants to buy drugs?

JENNINGS: (As Crackhead John) Yes. But what do I get in exchange?

ONAYEMI: (As Desmond) Crack.

JENNINGS: (As Crackhead John) Yay.

ULABY: There's a twist in "The Shipment" that it would be unfair to reveal and that captivated the theater critic for the New Yorker, Hilton Als.

HILTON ALS: Black and white people were confused. It was amazing. She was doing something very profound in terms of the ways in which we listen to quote-unquote, "ethnic speech" and quote-unquote, "regular speech."

ULABY: Young Jean Lee writes by listening. When she started "Straight White Men," she took advantage of being a playwright in residence Brown University.

LEE: I asked him full of women, queer people and minorities - what do you want straight white men to do? And what do you want them to be like?

ULABY: They told her, and Lee wrote it all down. They wanted this character - this ideal straight, white male to sit down and shut up.

LEE: And not try to always be thrusting himself forward - not be assertive - not be aggressive - not think he knows anything constantly aware of his own ignorance - constantly aware of his own privilege - taking a backseat. You know, and a lot of people said just disappear.

JAMES STANLEY: Boy - when you hear that around the table, you just feel yourself sinking slowly into the chair like yeah. I'm a club member. I don't - didn't ask for it. I didn't pay the dues, but here I am in it.

ULABY: James Stanley plays the main character who works at a not-for-profit. He's everything the students wanted.


UNIDENTIFIED ACTOR #1: (As character) You believe a guy like you is supposed to sit down and shut the [bleep] up, right?

ULABY: In the scene, he's being yelled at by brother.


STANLEY: (As Matt) Nobody's ever told me to shut up.

UNIDENTIFIED ACTOR #1: (As character)Of course not because you've always done such a good job at taking a backseat. Your female and minority coworkers - they probably don't notice that you're there.

ULABY: While Lee was writing the play, she and her actors went back to that room full of students and played out that ideal straight, white male character in front of them.

LEE: And they all just hated him - hated him. And I realized the reason why they hated him was because, despite all their commitment to social justice, what they believed in the most was not being a loser. He is exhibiting behavior that gets attributed to people of color - not being assertive - not standing up for himself - like always being in a service position.

ULABY: And all that made it into the play.


UNIDENTIFIED ACTOR #1: (As character) You're being an ally putting yourself in a service position, right? Making copies for the oppressed?

STANLEY: (As Matt) That's a weird way of putting it.

UNIDENTIFIED ACTOR #1: (As character) You're trying to live in accordance with what you believe. There's nothing that people like us can do in the world that isn't problematic or evil. So we have to make ourselves invisible.

ULABY: It's an existential dilemma Lee says. She had one of her own while writing the play as a Korean-American working in the largely white run world of American theater.

LEE: What was interesting to me in exploring the straight, white male is that I can always say oh well, I'm just pursuing my own ambition. But I'm making the world a better place 'cause now there's this Asian, female playwright who can be a role model for other artists of color. And I'm like helping with diversity. And so like I can just do whatever I want and sort of like get on the good person list. And it occurred to me that as I was doing the show and listening to people talk about straight, white men, straight, white men don't really have that option.

ULABY: Playwright Young Jean Lee hardly thinks straight, white men are categorically oppressed, but she likes using theater to reveal and dismantle our perceptions of each other and ourselves. For her, it's a place to check assumptions at the door. Neda Ulaby, NPR News.

Copyright © 2014 NPR. All rights reserved. Visit our website terms of use and permissions pages at for further information.

NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.