Gem
of the Ocean
August Wilson
Juney Smith, Namir Smallwood, David Everett Moore & Margo Hall |
Through her walled displays that could as easily
be in an art gallery as on a theatre’s stage, Kimberlee Koym-Murteira captures
the essence of the themes and stories of August Wilson’s Gem of the Ocean. A
beautiful liquid prism wall of overlapping squares of many shades of blue
recalls the journey of slaves across the Atlantic. Wooden chairs (one with a washboard as
backing) hung on a wall, to be used as needed and then returned, speak to a
people that have had, time and again, to set themselves down in humble settings
before picking up and moving on again. A
massive collage of scenes from the 1904 Hill District of Pittsburgh both
establish the time and the location of the story and the nature of the
intertwined stories that will act as pieces of a jigsaw puzzle to paint an
overall picture of the past, present, and future of Africans come to
America. Finally, the walls all rest on
a floor that suggests that great, faraway continent where the ancestors of
those we will meet were so horribly separated forever. Marin Theatre Company presents a soaring,
sensitive, and -- in every way imaginable -- sensational production of this
first of August Wilson’s plays about the African American experience in the ten
decades of the Twentieth Century.
The beginning of any new century is often full
of hope while still carrying the consequences of the past one. The collage of stories of those living and
passing through 1839 Wylie Avenue are of those who remember slavery, those who
risked lives for theirs and others’ freedom, those who are working hard to
establish their own roots in what is in essence a new world for them, and those
who are still running from oppression toward hoped-for salvation. Framing all the pieces of our evening’s
puzzle is a too-familiar story, then and now.
An African-American man is accused wrongly of a petty crime (in this
case, stealing a bucket of nails from a local mill) and ends in his committing
suicide, choosing to die as an innocent rather than be falsely jailed. This atrocity inflames this 1904 Black
community, resulting in an uprising and an act of destructive defiance that
will be repeated over and again in Watts, Boston, Memphis, Baltimore, and too
many other American cities. As
background music (composed and directed by Kevin Carnes) of distant African
chants, moaning hymns born in slavery, early jazz notes, and later hints of
honky-tonk and even rap so profoundly alert us, August Wilson’s play is truly
one of yesteryear, yesterday, and today.
Margo Hall |
Our setting is the home of Aunt Esther, a former
slave who declares matter-of-factly her age to be 285 years old, meaning she
was born the year the first African arrived on American shores. As a conjurer, healer, and master storyteller,
Aunt Esther is the history of her people in all she seems to know of the past, to
instinct of the present, and to see of the future. Her long, earth-mother dress has a patchwork
of faces on it (as we learn in our program) of the likes of Emmett Till, Mike
Brown, and Oscar Grant; and her dangling jewelry and beads speak to the African
journey from original roots to present day (all thanks to Katherine Nowacki’s
both symbolic and time-authentic costuming).
Margo Hall is a gigantic presence in the petite, aged body of Aunt
Esther. Her face speaks volumes in both
its radiance and in its furrows; and her piercing, miles-deep eyes both have
seen and do see more than most mortals around her. Aunt Esther’s raspy voice is both clear and
confident with clairvoyant guidance to those seeking help and loving and
calming in moments of soothing the pains of others around her. There is no doubting her when she declares,
“It is man that takes God’s creation and turns it over to the devil” or when
she commands, “If the world don’t turn the right way, you got to fix it.”
Living with Aunt Esther are Eli and Black
Mary. Eli is an ex-slave who cares now
for Aunt Esther; talks in slow, measured cadence; and knows that freedom does
not come easy for the Black man: “You got a long row to hoe, and you ain’t got
no plow ... you ain’t got no mule.”
David Everett Moore is solid in his conveyance of this man who is doing
all he can, including building a wall of rocks, to protect his adopted family
from the evils he sees around them.
As Black Mary, Omoze Idehenre conveys a woman
who is eager to help Aunt Esther but to do so in her own independent way. A large woman with broad shoulders ready to
offer others’ comfort, she is also exceptionally light on her feet and graceful
with her hands and arms as she, like others around her, silently and spontaneously
illustrates in mime-fashion both her and others’ stories -- a technique Director Daniel Alexander James
poetically uses throughout to connect current words to the tribal mystical
traditions of the past.
David Everett Moore, Juney Smith & Omoze Idehenre |
Juney Smith is the ex-slave and former conductor
of the Underground Railroad, Solly Two Kings, whose notched cane is marked to
remember the sixty-three slaves he rescued.
Solly is about once again to take that cane and to walk the 800 miles to
rescue his sister desperate to leave an Alabama whose laws are about to make it
impossible for the great immigration of Blacks to the North to continue. Mr. Smith’s Solly is a big, burly man whose
heart and smile reach out to all around him and whose cheerful outlook betrays
his harsh past and present: “You know how they say you should count your
blessings? I can’t count that far.” Mr. Moore effectively conveys Eli’s
determination of singular purpose that will play itself out in major ways for
the family and community around him.
Invading the home on Wylie Avenue through an open
window is a recent immigrant from the dreaded Alabama, a young, shy, and
handsome Citizen Barlow, whose very name underlines the next-generation’s goal
of leaving their parents’ slavery behind to find their rightful place in
America. However, before he can move on
to settle into this new realm, Citizen must first beg Aunt Esther to “soul
wash” him of a huge guilt plaguing him.
Namir Smallwood’s accounting of the ritual his newly found family leads
him through is frightening, mesmerizing, and awe-inspiring as he rides an
ethereal ship (the “Gem of the Ocean”) to a City of (African) Bones. His voice rises and falls as the waves of the
ocean he crosses; his body writhes in the mental pain he must go through
understanding the trials of the past; and his face beams with the redemption he
eventually finds by understanding first-hand the history of his people.
Rounding out this excellent cast are two
opposites. Tyee J. Tilghman is Black
Mary’s stern but striking brother, Caesar Wilkes, whose success and standing in
the majority white community of Pittsburgh as a police officer has come at the
expense of the Blacks he pursues for petty crimes like stealing nails. Mr. Tilghman in cool and evil demeanor
embodies the worst of legal righteousness too often to be echoed later in the
century when he justifies his actions as “The law is everything; you got to
respect the law.” On the other hand,
Patrick Kelly Jones masterfully plays a wily, homespun tinker, Rutherford
Selig, whose genuine love and liking for Aunt Esther’s clan is clearly
reciprocated and who seems to be the playwright’s way of saying that there are
in fact some good whites in this world.
Marin Theatre Company takes a play done in the
past in magnificent fashion on much larger stages like A.C.T. and Oregon
Shakespeare and totally gives it new interpretation and life that will live on
for years in the memories of all who attend this special production of August
Wilson’s Gem of the Ocean.
Rating: 5 E
Gem
of the Ocean continues through February 14, 2016 at Marin
Theatre Company, 397 Miller Avenue, Mill Valley. Tickets are available online at https://tickets.marintheatre.org/Online/
or by calling the box office at 415-388-5208, Tuesday – Sunday, noon – 5 p.m.
Photo Credits: Kevin Berne
http://www.marinerocean.org/
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