The infamous "Dutchman," as performed at The Jazz House by J.H. Doyle Productions, is "Revolutionary Theater" at its best, the kind of slap-in-the-face edutainment that few drama troupes have the balls to present anymore. Race relations in America might have changed since 1964, when a hot-blooded Amiri Baraka (then called LeRoi Jones) penned the play, but "Dutchman" is no less relevant to today's world than it was to a Malcolm X generation.

Don't be fooled by the unassuming title, which seems mild compared to the others on the Baraka shelf: "Arm Yrself or Harm Yrself," "Black Power Chant," "Junkies Are Full of (SHHH…)" and "A Recent Killing," to name just a few. "Dutchman" is a reference to the Wagner opera, "The Flying Dutchman," only the proverbial Ghost Ship in Baraka's play is a New York subway car and the primarios are Clay, a young black intellectual, and Lula, an attractive white woman.

The play begins with the two characters making conversation over what appears to be sexual attraction, seducing one another with barrages of innuendo and mischievous teasing. We soon realize that there is something weird about Lula, who fluctuates between rowdy ebullience and plumb craziness throughout their dialogue. Playful banter then develops into a heated discussion about race, concluding in a shocking climax and denouement.

The effectiveness of this production lies in its simplicity. The script itself doesn't call for any bells or whistles and director J.H. Doyle has done an excellent job of preserving the minimalist mode. Two gray walls, a black screen and a few wooden benches make up the entire set. There are hardly any props, the lighting is basic and The Jazz House's homey throw rugs and coffee tables make for a humble (and cozy) play-watching experience. Yet the play beats out lavish Broadway fabrications that cost fifty times more to attend and don't speak nearly as loudly and with as much profundity as "Dutchman" does.

Stark and unpretentious décor also reflects the production's acting; the two leads, Eric Ward and Sharon Hogan, deliver passionate and honest performances, skillfully capturing subtle moments as well as turbulent ones. This is no easy task, considering Baraka's monologues often cross that line between drama and political tirade, especially toward the end of "Dutchman." But even the lengthy outbursts feel natural, while the proximity of the stage to the audience pulls the viewer right into the emotional conflict.

Such intimate theatres, where actor and audience can truly share the same space, are perfect for plays like "Dutchman," creating an informal, almost rehearsal-type atmosphere. In fact, this production opens with three "Actor's Workshop" scenes, which don't have the depth of a complete work but set up the mood and pace for the night.

Even if nothing offends you and theatre isn't really your thing, go see "Dutchman" this weekend before it ends on Sunday. Few plays speak with such unapologetic furor yet maintain an accessibility that is only heightened by the intimacy of fringe theatre.