Blues for Mister Charlie is James Baldwin's second play, a social commentary drama in three acts.

"[2] It is loosely based on the Emmett Till murder that occurred in Money, Mississippi, before the Civil Rights Movement began.

They are interrupted by Parnell James, who brings them the news that Lyle Britten will be arrested for the murder of Richard Henry.

When he leaves to inform Britten about his future arrest, the students talk amongst themselves about the struggles they face as black people.

His wife brings up the death of Richard, fearful that her husband may go to jail because of a past transgression he had with another black man who died as a result of the confrontation.

Later, he confides in Juanita about his time up north and how he became a drug addict, hit rock bottom, and then became clean.

Later that night, Richard returns home to talk with his father, the reverend, about taking the nonviolent route and hands over his gun.

The flashback ends, and the scene opens with Parnell returning to the church to reassure Reverend Meridian Henry that Lyle will be taken to court.

He has an awkward exchange with Jo Britten, she feels threatened, and Lyle, who had been in the backroom, enters and tells Richard to leave.

Lorenzo tells a simplified version of the events that transpired in the store and defends Richard's character saying he had "kicked" his drug habit.

Parnell James defends Richard through his close friendship with Reverend Henry, but he refused to say Jo's version of the story was a lie, leaving the all white jury to believe it was true.

Then, another flashback shows Lyle killing an unarmed, nonviolent Richard for refusing to apologize for the altercation in the store and then disposing of his body in the high weeds.

[2] James Baldwin uses this play as a vehicle to address his issues with Christianity, a religion historically used to justify the enslavement of Africans.

[4] Lorenzo articulates the lack of empathy that Christianity has for the Black community, calling it “the white God” who ignores others’ suffering at the hands of the irrational.

"[6] His white characters possess the weaknesses stereotypically attributed to Black people, such as “lust, lack of moral strength, and violence.

"[6] By situating his characters to reflect the opposite of what is expected by his audience, Baldwin places the viewers in a position to acknowledge the complexities of human nature.

It was directed by Burgess Meredith starring Al Freeman Jr., Rip Torn, Pat Hingle, Ann Wedgeworth and Ralph Waite among others in the cast, and received critical praise from The New York Times.

[8] Later in 1965, the same production was remounted in London without Rip Torn in the key role of Lyle and drew a hostile reaction from London's critics [9] The Royal Exchange, Manchester staged a revival in 1992 directed by Greg Hersov with Paterson Joseph, David Schofield, Nicholas Le Prevost and Wyllie Longmore.