Keith Hamilton Cobb has been on an urgent mission, crisscrossing the United States since 2013 performing his “American Moor.” Mr. Cobb’s almost-one-man-show is a trope, here an extended metaphor, for the pressing need for dialogue around the systemic racism and other “false securities that our society rests on” (Rachel Elizabeth Cargle). Keith Hamilton Cobb makes it clear that unless we take his cautionary tale seriously, we risk opportunities for meaningful and transparent dialogue: and this at the peril of creating an even greater divide in our culture, our nation, and the global community.

Mr. Cobb’s engaging monologue about his experiences auditioning for the role of Othello includes the “real time” audition with a younger white director, “asides” that comment on the audition process, and challenging flashbacks that illuminate his experiences as a strong black man struggling against being silenced and ignored. His language is powerful, engaging, and deeply infused with the need for truth telling and transparency. Silencing and truth are inextricably woven into the issues of systemic racism.

“Silencing happens when, for white people, hearing the truth is too much; when the truth hangs so painfully heavy on their shoulders that they’d rather get rid of the weight, than actually face the issue head on” (Rachel Elizabeth Cargle, “Bazaar,” January 2019) In “American Moor,” the entitled white director (Josh Tyson) is unable to handle the truth-telling that the American Moor Cobb reveals in his parsing of the character of Othello, a reading completely unfamiliar to the director and antithetical to his world view.

In her article in “Bazaar,” Ms. Cargle continues, “Because when the truth is held up, it reflects the false securities that our society rests on: the elitism, the capitalism, the racism, the ableism, the sexism, the homo/transphobia, the xenophobia, the anti-blackness.” Keith Hamilton Cobb, under Kim Weild’s sagacious direction, takes on these societal false securities with an enormous passion and a deep desire for healing.

During the curtain call, the audience at this performance quickly rose up on their feel to deliver enthusiastic applause. One wonders if this apparent sign of “having heard the truth” might really be, in the throes of fear, saying to Keith Hamilton Cobb, “Thanks for coming.” If one thing is clear from revisiting the significance of the Moor, it might be to remain mindful of the “fear and trembling unto death” that threatens the hearing of the truth that could ultimately set us free from the ravages of systemic racism in America.