August Wilson’s Gem of the Ocean is a bit like a Skip James song: slow to build, bitter and full of religious allusion. One particular lyric of James’s sticks with me:
I would rather be dead and six feet in my grave
Than to be way up here, honey, treated this a-way
This idea is central to Wilson’s play, which deals with just what it means to be free in America and whether or not death is preferable to slavery, both literal and societal.
It is no mistake that Wilson’s plays share much in common with the blues: just as blues was a vehicle for the African-American condition in the early 20th century, Wilson’s texts served the same purpose. Unfortunately, the well that the two draw from is one filled with oppression, sadness and death. The Penumbra Theater Company’s production of Gem at the Guthrie, however, at least offers some glimmers of hope.
To begin with, Gem has quite a few hilarious moments. While the main characters are in a constant struggle against economic hardship, racism and the threat of violence, they generally keep a lighthearted optimism, buoyed by the belief that “aint nothin’ that God created that aint good.” Where the actors, Solly Two Kings (James Craven), Eli (Abdul Salaam El Razzac), Black Mary (Austene Van) and Aunt Esther (Marvette Knight) really shine is in their humorous day-to-day interactions in the first act. This embodies Wilson’s emphasis on character development, and gives a brilliantly understated actor like El Razzac the chance to really create a complex persona onstage.
The story centers around a young man, Citizen Barlow (Cedric Mays) who has come to Esther’s house to be washed of some great sin that he has committed. This is set against the backdrop of a volatile work environment where the local Mill workers have gone on strike, and top law-dog Caesar (T. Mychael Rambo) is on a rampage against local lawbreakers. While Esther, Black Mary, Eli and Solly plan to take Barlow to the “City of Bones” to be cleansed of sin, circumstances in the turbulent environment are set against them.
For the most part the show had very few flaws: The set by Matthew LeFebvre was incredibly detailed and fit the McGuire Proscenium stage perfectly. While director Lou Bellamy could have possibly done more to speed up the play’s cautious pace, he did an admirable job with what is generally considered a slow-building piece. While the ensemble cast (featuring some of Penumbra’s very best) did a splendid job, I found that Esther’s “old lady voice” at times appeared a little too put on. For having a small part, Terry Hempleman’s Rutherford Selig was strong though, as was Rambo’s booming interpretation of Caesar. Overall I have very little to complain about.
Perhaps the best indicator of a good show is whether or not it sticks with you after leaving the theater. Gem of the Ocean is one such play – long after the show had ended I found myself discussing its merits and fallacies amongst friends. With such a provocative storyline, complex characters and a well-rounded cast, Bellamy largely succeeded in creating Wilson’s sadness, frustration and hope. For even Skip James had hope:
Well, you hear me singin' my lonesome song,
these hard times can last us so very long.
Hopefully, if Wilson were still alive to examine society today, he would find the times much improved over the difficulties that take place in Gem.
