Dutchman, a one-act drama by Amiri Baraka, is set aboard a subway train in New York City. A young Black guy named Clay and a white lady named Lula are at the center of this compelling tale about race, identity, and power relations. The two characters have a heated discussion throughout the play that is full of suspense, deception, and seduction. The play offers a scathing critique of social mores and practices while delving into the complexity of racial relations in 1960s America.

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Clay, a well-dressed, courteous Black man in his thirties, is shown in the play sitting calmly on a subway train. When Lula, a brazen and quirky white lady in her thirties, boards the train, the otherwise regular mood takes a dramatic turn. According to the description, Lula is tall, has red hair, and dresses in gaudy, exposing apparel. She moves confidently and flirtatiously toward Clay right away.

Lula accuses Clay of gazing at her, which initiates a dialog. Lula teases Clay and makes bold judgments about his life, dismissing his denial. She correctly predicts his residence, his routine, and even the characteristics of his companions. Although her expertise surprises Clay, he doesn’t take her seriously. Clay is a little uneasy at Lula’s lighthearted and provocative tone, but he makes an effort to remain composed and interact civilly.

Lula gets more aggressive and personal as their conversation goes on. She raises delicate subjects and even charges Clay with inappropriate childhood conduct, including trying to woo his sister. Clay is shocked by this claim, but Lula dismisses it with a grin and keeps making audacious statements. There is a sense of mystery about her since she appears to know details about Clay that a stranger shouldn’t.

Lula gets emotionally and physically closer to Clay. Similar to the biblical tale of Eve and the forbidden fruit, she puts her hand on his leg and gives him an apple to eat, signifying manipulation and temptation. She suggests they go together and extends an invitation to a party that Clay says he’s going to later. Lula even suggests that she could later invite him to her flat. Her attentiveness piques Clay’s interest, and he starts to feel optimistic about the potential outcome of their conversation. But he doesn’t push for anything and stays careful, allowing Lula to take the initiative.

Lula’s tone changes from lighthearted to derisive as the discussion progresses. She takes issue with Clay’s demeanor, his schooling, and even his fashion choices, including his three-button suit. She calls him meek and unauthentic to his Black identity, accusing him of attempting to blend in with white culture. Lula mimics what she believes to be “Black” conduct by starting to dance provocatively and exaggeratedly. Clay is invited to join her, and she encourages him to let go and dance with her.

At this moment, Clay begins to exhibit obvious signs of discomfort and annoyance. He makes an effort to remain composed and steer out of conflict at first, but Lula’s constant mocking strains him to the breaking point. Clay ultimately loses his temper when she acts too aggressively. He seizes Lula, hurls her onto her seat, and orders her to quit harassing him. His cool, collected manner falters, displaying his annoyance and rage.

Clay addresses Lula in a stunning monologue that subtly challenges the entire racial oppressive system. He charges white people with keeping Black people oppressed while taking use of Black culture for their own amusement. He says that rather of confronting institutional racism, which is the primary cause of Black people’s suffering, they are frequently compelled to express their anguish and rage via dance, music, or other artistic endeavors. Clay mockingly implies that Black people would decide to revolt violently and eradicate racism by eradicating white people completely if they stopped attempting to deal with their oppression in a nonviolent manner.

Clay immediately makes it clear, though, that he is not genuinely interested in revolution or bloodshed. He acknowledges that he would rather stay out of trouble and act as though there is no issue. His internal dilemma is revealed by this statement; he feels the effects of racism but doesn’t think he can alter it.

Clay makes the decision to exit the metro vehicle following his emotional outburst. He wants to stop talking and let Lula’s deceptive actions alone. But Lula does something unexpected and startling right before he leaves. Clay is instantly killed as she takes out a knife and stabs him twice in the chest. Her actual character is shown by the stark contrast between her previous pleasant manner and her calm and premeditated aggression.

What follows is just as unsettling. Despite seeing the murder, the other train passengers—both Black and white—do nothing to prevent it. Rather, they follow Lula’s directions to dispose of Clay’s body in silence. At the next station, they toss his lifeless body from the train, as though this violent conduct were commonplace.

The subway vehicle quiets down as the performance comes to a close. Calmly, Lula shifts her focus to another young Black man with books in his arm who has just boarded the train. Her behavior indicates that she intends to use this new victim in a vicious circle of violence and manipulation. The play’s eerie feeling of inevitable conclusion emphasizes how systematic and recurring racial injustice is.