Black Rep presents provocative play inspired by unethical actions of ‘father of modern gynecology’ | Arts and theater

Set in the South in the 1840s, the play is inspired by the true story of J. Marion Sims, a physician and plantation owner known as the “father of modern gynecology.” But Sims achieved that status through unethical experimentation on enslaved Black women.

The production is directed by Ron Himes, founder and producing director of the Black Rep.

“I’m always trying to find shows that fill in the blanks of history,” Himes says. “To tell stories that aren’t often told. Simpson is a young writer, and I’m also always trying to find ways to showcase and give voice to young writers — and introduce them to our community.”

In the play, Sims is represented by a character named Dr. George Barry. But the drama hews closely to the facts. Through experimental surgeries, Sims sought new ways to treat childbirth complications — but at a terrible cost.

“He did all of these surgeries with no anesthesia,” Himes says. “It was brutal. Anesthesia became available to him, but he was of a mind that Black women didn’t need it. Basically, he just gave the women enough time to heal. And then, when they had healed enough, he’d try it again. It was trial by error.”

Because the women were enslaved, Sims “felt as though he could do whatever he wanted to, however he wanted to. And he did, for years.”

In a review of a 2019 production of “Behind the Sheet” at New York’s Ensemble Studio Theatre, the New York Times observed that Simpson’s drama “may be a quiet play. But its echoes are thunderous.”

Another play by Simpson, “sandblasted,” recently finished a run at the Vineyard Theatre in New York. And her profile is on the rise at an interesting time. In the last 20 years, four recipients of the Pulitzer Prize for drama have been Black women: Jackie Sibblies Drury (“Fairview”), Katori Hall (“The Hot Wing King”), Lynn Nottage (a two-time winner for “Ruined” and “Sweat”) and Suzan-Lori Parks (“Topdog/Underdog”).

Particularly notable is Nottage, whose “Mlima’s Tale” was produced by the Repertory Theatre of St. Louis in June, followed by the Black Rep production of “Sweat” in September.

“Certainly, Black women are writing some tremendous plays and are being recognized and getting productions more so than they have in the past,” Himes says.

“Behind the Sheet” is in keeping with that trend.

“This play is so very, very important,” Himes says. “Because hopefully, it will stimulate conversations about women’s health and women’s reproductive rights.”

What “Behind the Sheet” • When March 18-April 3; performance times vary • Where Catherine B. Berges Theatre at COCA, 6880 Washington Avenue • How much $15-$50; proof of COVID-19 vaccination or negative test required • More info theblackrep.org