Photo by Christopher D. Neely
Emmanuel McKinney (as Citizen Barlow) and Lazora Jones (as Aunt Ester) perform in August Wilson's "Gem of the Ocean" at Playhouse on the Square through Oct. 16.
August Wilson didn't start out his career intending to write a total of 10 plays, one set in each decade of the 20th century. But that's what he accomplished by the time of his death in 2005.
The Pittsburgh Cycle, as the series has been called, includes two Pulitzer Prize-winning dramas -- "Fences" and "The Piano Lesson" -- and each play depicts a different slice of life in Pittsburgh's Hill District, an African-American neighborhood that can be seen in different stages of its evolution throughout the last century.
"Gem of the Ocean" was his penultimate work, written two years before his death. Set in 1906, it is chronologically the first play in the series, and is a fine example of Wilson's unique oeuvre. At its most realistic, the play evokes the classic dramatic style of Arthur Miller and Eugene O'Neill, though it's filled with Wilson's signature lyrical departures that nod to traditional African storytelling.
For example, long monologues are sprinkled throughout the play like arias in an opera, which, in the right hands, can be perfectly captivating. In the second act, a 285-year-old conjure woman uses her hoodoo powers to show a young man the torments of slavery. Lights change, sound effects swell, and the audience takes part in his hallucination.
Wilson's language and his dramatic style are notoriously tricky for even the most competent actors and directors. In some respects, Playhouse on the Square should be applauded for its well-intentioned but mediocre production of "Gem of the Ocean," running through Oct. 16. However, the professional theater has set a high bar with previous dramatic works such as "August: Osage County" and "Frost/Nixon." This production of Wilson's work falls short of what might be expected.
Director Tony Horne, who has a terrific track record in musical theater, doesn't fully tease out the inherent musicality in Wilson's language -- that is, the storytelling should crackle with with sharp tone colors, shifts in tempo, moments of harmony interrupted by dissonance. Pacing was the most frustrating issue on opening night. The energy just seemed to flag toward the end.
There are still good reasons to see "Gem of the Ocean," however. More than any other play by Wilson, it shows the vital importance of roots, and how the past constantly reshapes our lives.
In "Gem of the Ocean" a young man named Citizen Barlow (Emmanuel McKinney) arrives at the home of conjure woman Aunt Ester (Lazora Jones) hoping to have his soul cleansed of guilt. He comes at a time when the horrible treatment of black workers at a local mill has caused a strike and the law is cracking down.
The chief antagonist is a black police officer named Caesar who has turned against his race. As Caesar, Rozell Henderson utterly takes charge of the scene each time he enters.
Though Jamie Mann is young for his role as a former slave and dung picker Solly, his performance is the most distinctive in the show. Mann captures the defiant, ennobled spirit of this terrific Wilson character who presses Citizen to fight for his independence.
Morgan Malone (as Black Mary), Mark A. Davis (as Eli) and Ron Gephart (as Selig) round out the cast of characters that create a powerful snapshot of a black community at the turn of the 20th century.
In Wilson's final play, "Radio Golf," set in the 1990s, a real estate agent wants to demolish an old home to make way for a high-rise apartment building. The familiar house, however, seems to be protected by its rich history -- a history that begins in the play "Gem of the Ocean."
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"Gem of the Ocean"
Performances continue at 8 p.m. Fridays and Saturdays and 2 p.m. Sundays through Oct. 16 at Playhouse on the Square, 66 South Cooper. Tickets are $28-$33 adults, $20 seniors, students and military. Call (901) 726-4656.
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Comments » 4
ecrystal01 writes:
I get it! Because the director didn’t have the actors onstage “acting” like actors (huge overt gestures, dramatic eyes, gnashing of teeth, rending of hair) the way some directors would have handled it, the writer of the Commercial Appeal’s review of Gem of the Ocean didn’t enjoy it. He wasn’t ready for a conversation from Black actors (which is what happened during Gem of the Ocean), but needed some “acting.” Wilson’s work can be read in many different ways, and as an actress, I might have made some more dramatic choices in some places in the script. It’s very tricky when the audiences you’re dealing with are used to some good, old fashioned… high drama, especially from Black folks. Tony Horne chose a more subtle route to present August Wilson’s work. He chose to have the actors have a conversation.
Let’s face it; there’s nothing subtle about August: Osage County. It slaps you right in the face and keeps right on slapping until its final bow. Nothing wrong with that. I thought it was great, thoroughly enjoyed it. Frost/Nixon was beautifully played; Bill Andrews was riveting as Nixon. The pace of the piece was plodding at times, though. Maybe the writer (and/or the director) thought we needed time to chew on some things being said in the piece. August Wilson let Gem of the Ocean unfold slowly, deliberately and I think the director handled it beautifully, letting the author’s words carry the story. There were scenes where Aunt Esther sat in a chair across from Citizen and they talked, just as you would talk with a pastor in his study or a counselor in her office. Nobody got up and jumped around to help you pay attention. You just had to BE there.
There was some fine acting going on in this production of Gem of the Ocean, and some fine directing as well. Don’t expect fast-paced shenanigans. Just accept the flow of the show for what it is – the best way to present this piece of August Wilson’s work. Mediocre? Not by any means. Beauty is in the eye of the beholder.
mphsartlover67#554986 writes:
I attended Gem of the Ocean on last Thursday. I thoroughly enjoyed the story and most of the performances. As an avid theatre goer I did want to see a bit more power in some of the characters. Was it as bad as CA's review? NO. As tired as I was that night I did not drift into napland. Had the actors not delivered, I know I would have dozed off. (Sorry but I have often dozed off at highly favorably reviewed productions thru-out the city) One of the most memorable things about that night was the young lady next to me and the elderly lady sitting 2 seats down from me. They joined me in sheading tears. The conjouring scene moved each of us...generations apart. The elderly lady was literally sobbing. I thought she was laughing at first but she was sobbing. I suggest you form your own opinion. I never let others dictate to me what GOOD THEATRE is. If a performance moved the audience to think, reflect or question what they just saw they did their job.
roscoron#299808 writes:
With two regional premieres opening at the Circuit Playhouse organization this month it must have been a tough call not to put "Avenue Q" in the big house. Jackie Nichols should be roundly applauded for taking August Wilson very seriously by putting him on Main Street. As a member of the cast, I haven't really "seen" the show. However, judging from the audible audience responses and the standing ovations most nights, Tony seems to have hit the mark throughout.
mayaallen1#654425 writes:
I recently saw this performance and I thought the play was very well done. The story was extremely extertaining and full of mystery. I found myself trying to figure out "what happened next" only to be suprised with the outcome. The underlying themes of the play were intriguing and the actors were amazing. Overall, I think that Tony Horne did a remarkable job with this presentation.
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