Anniversaries often lead us down the path of introspection. In the comparison of a present moment to one past, questions are inevitably raised of what triumphs — and setbacks — have marked the time in between. This year marks the 50th anniversary of the historic Supreme Court ruling in Brown vs. Board of Education that deemed racial segregation in schools unconstitutional and marked a turning point for race relations in America. To take a fresh look at the legacy of this momentous event, Thurgood Marshall College has commissioned the production of a new play by Alan Havis of the theatre and dance department to be presented at the Museum of Contemporary Art, San Diego.

“The Haunting of Jim Crow” reflects on the historical struggle for racial integration during the Eisenhower years in light of a contemporary world that remains “haunted” by inequality. The emotional drama of the play — the affectionate secret relationship between the notoriously racist southern Sen. Strom Thurmond and his biracial daughter, Essie Mae Williams — spans the time between Brown and the present and raises many questions about the perseverance of ambivalent attitudes toward race in the United States. What does it mean for one of America’s staunchest opponents of civil rights to celebrate his 100th birthday in office? Has America truly “progressed” or has our racial backwardness merely been ignored and obscured, taking on a new paradoxical form?

In an interview with the Guardian, Havis discusses ideas that helped shape the writing of “The Haunting of Jim Crow.”

Guardian: The characterization of great historical figures in the arts is a challenging and often controversial undertaking. What tools helped you breathe life into such an impressive cast?

Havis: Reading many historical biographies helped bring life and vitality to the key players of the story. I also remember many film clips and news reports over the decades.

G: At times the script of “The Haunting” seems quite optimistic with regard to the changes that have taken place in America- and then again, there is plenty of material to cast doubt on the true progress that has been made on issues of race. Where do you fall on this spectrum?

H: I have many conflicted feelings of how society has evolved with regard to race and class differences. I believe we have moved forward, but there is strong evidence of our nation’s need to regress.

G: Would you say, then, that the contradictions that emerge in Strom Thurmond’s character reflect broader trends in America?

H: Thurmond’s paradoxical life may be the best metaphor of America’s madness about racial superiority and the inner drives to embrace “the Other.”

G: Your character, Leza, a contemporary Los Angeles high school teacher, says at one point, “My kids in class never heard the name Jim Crow, never heard of Jim Crow laws, or Jim Crow schools.” Do you share Leza’s apparent concern about the state of modern education?

H: I share Leza’s reservations and concern about the incomplete historical foundation in our public and private schools. The younger generations fail to recall enough recent civic studies, sad to say.

G: Excuse the cliche, but do kids these days care?

H: I wish the younger people would care more, but anecdotal evidence doesn’t support that desire. We spend more “yak” time on Janet Jackson’s wardrobe malfunction than the question of universal health coverage.

G: The play features sophisticated adult characters and issues alongside a narrator who addresses a class of high school students. I also understand that the show is being promoted as an educational tool. Were you writing with a particular audience in mind?

H: I wrote the play for a general audience, but I knew that layering the drama with some attuned narrative would give context to younger audiences.

G: Do you think that the racial themes of the play will resonate with UCSD students?

H: Yes, even though our racial and cultural make-up here is very different than Little Rock, Ark. in ’57. We do need to recruit more African-American students, since UCSD falls short compared to UCLA’s numbers.

G: What will be the fate of Jim Crow’s ghost in the next 50 years?

H: My wish would be that Jim Crow in 2055 would disappear finally as America becomes a truly blended, fair-minded society — a family under one roof and not two.

“The Haunting of Jim Crow” will be playing Feb. 17 through Feb.20 at the Sherwood Auditorium in the Museum of Contemporary Art, San Diego. For tickets, call (858) 534-8497, or visit the Price Center box office. Tickets are $15 for students, military and senior citizens, and $20 for general admission.