Sharr White’s Keynote Address

The following keynote address was given on Sunday, June 15th, 2025 at UAlbany during CRFT’s inaugural festival.

It’s such an honor to be here, thank you so much.

And thank you for the invitation to address this first-ever Capital-Region Festival of Theatre.

You should know that I’ve never given a keynote address before, so pardon me if I swing a little wild, here. And I promise you that I did do my best to find a playwright to speak who was actually famous, so I appreciate your patience.

And though the invitation to speak arrived in January, I’ll make no secret that I’ve struggled with what to say. After all, what does one speak of in unspeakable times?

These are days, when, still, I just need confirmation. That what is happening is actually happening. I think we all do. I almost feel like we can’t confirm it enough.

And for those of you who woke up this morning to read... pick a headline, any headline. (Right now, obviously, the news is being dominated by the president’s illegal military occupation of Los Angeles, and his deeply alarming — let’s just say it — hard-on of a military parade in Washington D.C., to say nothing of the unspeakable political assassinations in Minnesota.) But for those of you who woke up and wondered... is this actually happening? Be assured: It is. We are in an upside-down world.

At no time in our nation’s history has the “official” and the “policy” so drastically diverted from our very identity as a people.

Certainly there have been times in our history when we as a population, shamefully, were more aligned with policies that were ...vile. Dehumanizing. Let’s say it: violently racist. Blatantly white supremacist. I promise I didn’t come here today to go down the rabbit hole of slavery, reconstruction, and Jim Crow.

But long ago now, people braver than us. Willing to risk more than us. Willing to risk life, limb, imprisonment, investigation, harassment... rang the bell of personhood and equality in this nation. Rang it loud and clear.

And we, sitting here today, have been raised, natively, within the reverberations from that sound. And what this president and his people are attempting to do is to convince us that we never, in the first place, heard that sound of freedom ringing.

Being raised Post-War, and Post Jim Crow, I never realized, until this moment, how deeply I thought of myself, somehow, in some intangible way as “good.” And I know that believing in American goodness is naive. I know that many countless evils have been undertaken in the name of American exceptionalism based on our identifying as “good.”

Still, I stand here feeling a deep loss. Because the nation in which I was raised delivered food assistance to starving children not just because our outpouring of midwestern grains helped regulate farm profits, and not just because bags of wheat stamped with the American flag was the single-most important tool of personal American diplomacy but because preventing children from starving to death was what Americans do.

The nation in which I was raised recognized that our system was a system that, yes, while dormant, could be frustratingly slow, choked by paperwork, strangled by regulation. But that was the dull price to be paid in order to have a system whose gears, in times of emergency, could throw off its boring Clark Kent exterior and roar to unstoppable life.

And yes. That system is maintained by the people Donald Trump is personally at war with: anybody who is driven by facts. And anyone who is driven to interpret, express, or perhaps counterintuitively, even rail against the world that those facts define.

Pictured Above: Sharr White

Call us artists.

Thinkers. Innovators. Call us the Professional Managerial class. We are the researchers sifting through the genome of the bird flu. We are the employees in an obscure city department monitoring garbage clearance statistics, and what they mean to rat populations and the spread of typhus. We are artistic directors trying to balance theatre programming between popular material that keeps the doors open, and challenging material that demands our audiences engage.

Here’s their math: if you are someone who believes in, is driven by, or maintains, fact-based systems, you are the enemy. Because facts, at heart, are the enemy of tyranny.

But not because facts are, as they say, hard and cold.

But because facts, actually... are empathy. Facts tell you how long you have to solve your equations before three men in an Apollo capsule are lost in the blackness of space. Facts tell us how many grieving families are created each year by the rising tide of gun violence. Facts state how many millions of Americans will desperately search for medical care while a staggering three-trillion-dollar loan goes into the pockets of billionaires.

It’s clear why the president and his people are against facts, and those who wield them: because grifters and criminals need a world of lies, like fish need water, so that they may swim amongst us with impunity.

This is why we sit here, stunned, like birds who have hit glass. We have flown headlong into an alternate realm where our identity as a people is now one of official cruelty. And official stupidity. Where devotion to nation, over a cult figure, is a betrayal. Where we. Are the enemy.

And this moment is why we need theatre.

Because you cannot actually fight lies with facts. You have to fight them with truth. Yes, there are those in this country bravely offering truths in point-by-point refutations of Trump’s corruption, cruelty, and stupidity.

Pictured Above (left to right): Sharr White, Aaliyah Al-Fuhaid, David Quinones

But what theatre offers ...is a different truth.

In his forward to the new edition of a book we should all be reading, The Third Reich of Dreams — an extraordinary compilation by Charlotte Beradt of the dreams of ordinary Germans living under totalitarianism from 1933 until Beradt escaped Germany in 1939, Dunya Mikhail writes that what Beradt did was “Transform dreams from passive reflections of reality into active, dynamic narratives that reveal the deeper emotional and psychological currents of society.”

He continues to write that, in essence, there may be Truth. But what dreams do, especially in a world where there is danger in expressing the truth while awake, is reveal the truth ABOVE the truth. The reality above the reality.

I’d never heard of the origins of the idea of “sur-reality” explained this way. And I’m not necessarily advocating for a theatre of the surreal. What I’m saying is: in this new bewildering world in which facts and truth are not just elusive, but dangerous...

We must be the dreamers.

We must provide the space for audiences to gather, and experience together, along with us, in the dark, the truths above the truths.

Pictured Above (left to right): Sharr White, Aaliyah Al-Fuhaid, David Quinones

Obviously, in this moment, MacBeth comes to mind

What are the “weird sisters”, after all, other than interpreters of the nightmare truth that MacBeth cannot bring even himself to articulate? That is, of course, until he’s done the deed. A deed that everyone knows he’s done. The truth of which, if they are caught acknowledging it... endangers them. Sound familiar?

In act 1, scene 4, following the murder of Duncan, Shakespeare has Ross come upon an Old Man. And here, the truth above the truth is stated: that what Macbeth has done is so unspeakable that there is a rift in nature itself.

The OLD MAN says to Ross:

‘Tis unnatural,
Even like the deed that’s done. On Tuesday last,
A falcon, towering in her pride of place,
Was by a mousing owl, hawked at and killed.

ROSS replies:

And Duncan’s horses — a thing most strange and certain —
Beauteous and swift, the minions of their race,
Turn’d wild in nature, broke their stalls, flung out,
Contending ‘gainst obedience, as they would make
War with mankind.

To which the old man replies:

‘Tis said they ate each other.

To which I think... just as our nation now eats itself.

Certainly one could make the case that Richard III is driven to subjugate and destroy England purely out of revenge for being laughed at, and for dogs barking at him in the street. Just as most of us are certain that, at first, what drove Trump to destroy Obama’s legacy was Obama’s brilliant mocking of Trump during the 2016 correspondent’s dinner. If you haven’t seen it, please, look it up. It’s hilarious, and, knowing now what follows, horrifying.

And one could absolutely make the case for CP Taylor’s ”Good”, set in, yes, Nazi Germany. Taylor’s protagonist, Professor Halder — proclaims himself, over and over, a “good” man. And in his every action, makes what would appear to be the choice that sides with “good”. And in the end — but only as an appropriate choice for the meeting he’s attending. At a brand-new camp. He dons an SS uniform.

Let me assure you, though, that I’m not just advocating for programming that embraces darkness. In fact, the political science writer Gene Sharp, who has written prolifically about the best tools for fighting tyranny, states that one of the greatest is humor. Especially mockery.

Within that vein, the corruption of Moliere obviously comes to mind. Perhaps set within the environs of a 400-million-dollar airplane.

Or, might I offer a true crowd-pleaser. Perhaps one of the most secretively subversive programming choices possible: Peter Pan.

Wherein a sexually ambiguous hero — technically a boy, though often played by a woman — gets the best of a band of idiots. Who are devoted to a comically blundering tyrant. Whose drive to destroy our sexually ambiguous hero might belie, dare I say ...a deeper obsession. One that almost reads like that of a confused, semi-aroused, deeply ashamed, jilted lover.

Trump, of course, more than almost anyone, knows the full power of culture. And especially the power of theatre. Why else would he commit a strongman-takeover of our national cultural shrine, The Kennedy Center?

Which, though like everyone else, brought me horror, it also left me chuckling at his dilemma:

Now he’s got to program it. And the thing about arts programming is that it’s awfully hard to find material written in support of tyranny. And even harder, if you can find it, to be able to sit through it.

Pictured Above (left to right): Aaliyah Al-Fuhaid, David Quinones

Which leads me to the intrinsic importance, in this moment... of us. Of local theatre.

We all of course know the term Asymmetrical Warfare. It’s been practiced for eons against a more powerful occupier. It’s what drove us out of Vietnam. Iraq. Afghanistan. There is, in fact, a rule of occupation. Which is that, no matter what, an occupier will be resisted. And make no mistake. We. Are. Being occupied.

So my challenge, to all of us. Now, during this first gathering of the Capital-Region Theatres, is to engage in Asymmetrical Cultural Action. Trump may be able to take over the board of the Kennedy Center. But he can’t do it to literally every theatre in America.

Our national symbols are full of the imagery of many small entities banding together to create an unstoppable singular: The thirteen stripes, the fifty stars, on the flag. Ironically, the symbol called the”fasces” appears on the Senate Seal, and used to appear on the dime. It’s an ancient Roman symbol depicting a singular powerful ax created from a bundle of many sticks. It symbolizes E PLURIBUS UNUM: From many, one.

It’s also where we get the term... fascism.

In these times, however. And in dealing with tyrants. The crucial lesson to be remembered: is that motherfuckin’ ax can swing both ways. So our job, then. Is to band together... and swing it.

I have a deep, gnawing hunger. To understand what is happening to us. I have a bewilderment, an anger, a rage, that I need help expressing. And I have a tremendous need to roar with laughter over a tyrant’s comeuppance.

The explorations of these needs... are the enemies of totalitarianism. We must be the homes for them.

Let us become ants in the ears of the monster. Let us be the biplanes swarming King Kong. A few of us may be swatted. But he can’t get us all.

And even if he could. Even if he could retract funding for every organization. Even if he could padlock every door to every stage. Theatre. Will. Happen.

It will happen in living rooms. It will happen in garages. It will happen around kitchen tables.

And parks. On sidewalks. In protests. In front of National Guardsmen. And marines. And on courtroom steps. And in front of the White House itself.

We must Mock. Poke. Prod. Examine. Expose. Discourse. Be the dream. And now, more than ever, be the truth. Above the truth.

Thank you..

Pictured Above (left to right): Sharr White, Aaliyah Al-Fuhaid, David Quinones, Patrick White