A "protest play," unfortunately, always has a hard time of it artistically, and even more so if, like Baldwin, the playwright doth protest too much. And not only too much but too much too soon. Right at the outset [of Blues for Mister Charlie] we are clobbered with a tirade which is an inflammatory inventory of all the injustices toward the Negro, and, justified as these grievances are, they strike a false note: … Baldwin would shudder at the thought of having written a pop-art play. But that is what it is: pop art and agit-prop. (p. 48)
What is most serious is that the play pretends to be about racial injustice and the Negro's struggle for his human rights, while it is actually about something else. I am not saying that Baldwin is deliberately deceiving us, which would be bad enough, but that he is deceiving himself, which is, artistically speaking, worse. (p. 49)
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