My Reflection on a Three-Day Protest Tour: Using Theatre to Boycott Walmart, Target, & Amazon

By: Dontá McGilvery, Ph.D
March 16, 2025
To those few American citizens who remain unaware, the political climate in the U.S. is more chaotic than ever. Over the past 50 days, President Donald Trump has signed  more than 80 executive orders, surpassing the number he signed during his first term by 17. One of the most controversial orders is the elimination of diversity, equity, and inclusion (DEI) initiatives in both the private sector and federal government. Officially titled "Ending Radical and Wasteful Government DEI Programs and Preferencing," this executive order aims to dismantle DEI efforts, claiming to restore "Merit-Based Opportunity."
For those of us who exist on the margins, this order is not about merit—it is about erasure. It is an attempt to render marginalized communities invisible and re-center privilege. So, how do we respond? How do we fight back? The answer is simple: We resist. We fight with our talents, our voices, and the very gifts that God has given us. We stand in the tradition of those who have fought before us. As John Lewis once said, "When you see a good fight, jump in." Fannie Lou Hamer told us to "put some legs on our prayers." Resistance is both an act of faith and action.
Now more than ever, we need every person of goodwill to join the fight for justice. In particular, three of the nation’s largest retail corporations—Target, Walmart, and Amazon—have rolled back their commitment to DEI. They are three of the 30 companies that removed DEI programs and stepped backward in their promises to underserved communities.
The Protest Monologue
This weekend, I decided to act. I rented a 10-foot U-Haul truck, transformed it into a mobile stage, and performed a monologue I wrote titled A Letter. This imaginary letter, penned by three iconic freedom fighters—Dr. Martin Luther King Jr., Cesar Chavez, and Malcolm X—urges every person of conscience to boycott Target, Walmart, and Amazon for 40 days. My goal was twofold: to encourage participation in the boycott and to deepen my understanding of protest theatre’s effectiveness. Over the course of three days, I performed the monologue in various locations, including a church, a Walmart parking lot, inside a Target, a barbershop, and two public parks. What I learned extended far beyond what I initially anticipated.
The Inspiration for the Protest Monologue
The 40-Day Boycott is an initiative launched by Pastor Jamal Bryant of New Birth Baptist Church in Stonecrest, Georgia. Target, for instance, reneged on its promise to spend $2 billion at black-owned businesses by 2025. In response, Pastor Bryant called on his congregation to take action, stating, "White supremacy is banking on your complacency. They are banking on you being so consumed with your car, your bag, your shoes, that you don’t see the whole community imploding around you." The church created a website, TargetFast.org, where participants can commit to the boycott, stay informed, and track the movement's progress. The 40-day boycott, ending on April 19th, is only the first phase—its next steps will depend on the response from Target’s board meeting on June 12th in Minneapolis.

Protest Theatre in Action
I set up my mobile stage in the back of the U-Haul, transforming it into a scene reminiscent of 1960s activism, complete with protest signs. Grabbing my bullhorn, I announced to a Walmart parking lot, "I have a letter from three of our freedom-fighting ancestors: Dr. Martin Luther King Jr., Caesar Chavez, and Malcolm X." While some onlookers met me with disapproving glares, many more stopped to listen, some even choosing to turn away from Walmart that day. Some asked for copies of my monologue, which I had prepared in both English and Spanish.
The experience revealed several key lessons:
The Idea of "Safety" When Engaged in Protest Performance:
Though I anticipated resistance, the weight of a few disapproving stares was enough to heighten my awareness of my vulnerability. No words were spoken, yet their expressions spoke volumes. I quickly realized that hostility does not have to be verbalized to be felt, and even silent opposition can influence decisions about where and how long to perform.
My choice of attire—a white long-sleeve button-down shirt and black tie—was intentional. I wanted to reduce any perception of being a threat. Although I am acutely aware that no suit or tie can shield my Black body from the dangers of hate, history has taught us that even the most distinguished appearances do not guarantee safety. Malcolm X and Dr. Martin Luther King Jr. were both dressed in suits when they were assassinated. While I know that my attire does not provide true protection, I like to believe that it may, at the very least, mitigate some risk.
The Agility in Modalities of Protest Theatre Performance: 
Performing in different spaces required me to adapt my approach. At First Institutional Baptist Church (FIBC), I had a captive audience and could perform the full eight-minute monologue. At Walmart, however, shoppers were on the move, so I adjusted by delivering key excerpts instead of the entire speech. I condensed the message: "Martin King said we ‘must be dissatisfied,’ Malcolm X urged us not to fund those who don’t value our community, and Cesar Chavez reminded us, ‘The fight is never about grapes and lettuce. It’s always about people.’" This shift allowed me to engage a transient audience effectively.
At Target, I pivoted yet again. Instead of a full performance, I approached shoppers—particularly people of color—and handed them the letter. "Can I share this with you?" I asked, before briefly explaining the boycott and encouraging them to read it later. This approach felt more personal and yielded a better reception than the public performance at Walmart.
At the barbershop, I had another captive audience. Though a third of the attendees were Spanish speakers, I was prepared—I provided Spanish copies of my monologue so that everyone could follow along. This reinforced the importance of accessibility and preparation.
On the final day of my tour, I performed in Cesar Chavez Park and Eastlake Park. Similar to my Walmart experience, these performances required a balance of public speaking and one-on-one engagement. While I handed out fewer letters at the parks, I could present longer excerpts of the monologue, reinforcing the message more visibly.

Conclusion:
​This three-day protest theatre tour deepened my understanding of performance as activism. It reaffirmed that resistance takes many forms—some loud and public, others subtle and intimate. Protest theatre is more than a performance; it is an act of defiance, a bridge between past and present, a call to conscience. Whether in a Walmart parking lot, a barbershop, or a public park, the message remains the same: justice demands action.

Now, I urge you to take action. The 40-day boycott continues until April 19th, and every dollar withheld is a statement of resistance. If we want corporations to honor their commitments to equity, we must demand it. Visit TargetFast.org, sign the pledge, and stand with us. As history has shown time and again, when we stand together, we cannot be ignored. Let’s put legs on our prayers and fight the good fight—one act of resistance at a time. 
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