PicksInSix Review: Gem of the Ocean - Goodman Theatre
“GEM” – “Better To Die In Truth”
By ED TRACY | PicksInSix®
There is both dazzling beauty and gritty realism in the Chuck Smith directed production of August Wilson’s “Gem of the Ocean” that opened on Monday at Goodman. Set in the Hill District of Pittsburgh in 1904, chronologically the first in Wilson’s Century Cycle series although written and produced two years before his death at 60 in 2005. “Gem” premiered at Goodman Theatre in 2003 and debuted on Broadway a year later.
With an eye-popping, highly-stylized Linda Buchanan set enhanced by Mike Tutaj projections, this artful production must look markedly different than its predecessors. Comparisons will no doubt be made, but having never seen this show myself, I will simply state that I am particularly privileged to experience it for the first time at the Goodman, whose rich history is inexorably linked to the playwright himself. History works here on so many fascinating levels. With a powerful, seasoned cast, “Gem” is must-see theatre.
This is a drama about a drifter named Citizen Barlow (Sharif Atkins) who is riddled with guilt that is devouring his soul. Citizen is taken in for spiritual absolution by the ageless Aunt Ester (Lisa Gaye Dixon) and surrounded in the safe haven of her residence at 1893 Wylie Avenue by Ester’s caretaker Eli (A.C. Smith) and Black Mary (Sydney Charles). The sinister constable Caesar (Kelvin Roston, Jr.) who is Black Mary’s brother, has Ester in his sights while promoting fear and viciously prompting violence against the poor and destitute workers who cannot rise above the oppression and poverty of the times. A stolen bucket of nails from the mill leads to a falsely accused Black man who chooses to take his own life instead of living a life that would surely brand him a criminal. His death sparks a protest by the workers that is threatening the future of the community.
It is Eli, with Solly Two Kings (James A. Williams) and Rutherford Selig (Gary Houston), who help Citizen understand the challenges he is facing and the dangers of being Black in America. He is attracted to Black Mary and through his journey to the City of Bones, has a spiritual awakening. However, the constant threat posed by Caesar to anyone stepping outside the narrow boundaries of his representation of the law leads to a dramatic confrontation. It is this dynamic that leads Ester to try to protect those close to her from harm, with dire consequences.
Light, shadows and special effects enhance Evelyn Danner’s costumes in this stunning production. The probing original music and sound suite by Pornchanok (Nok) Kanchanabanca creates an atmosphere so profound that, at times, you could hear a pin drop in the Goodman’s Albert. It is in those moments that August Wilson’s brilliance resonates with a level of emotion that can only be experienced in the theatre.
I am constantly assimilating the interconnections of the Century Cycle and never pass up an opportunity to add to my understanding of August Wilson’s masterwork. Nor should you. The Chicago theatre community includes legacy directors, actors and other theatre artists who are layering their own contributions and mining stories exposing racism and social injustice. “Gem” presents unsettling truths about the Black experience and ponders the question: “What good is freedom if you can’t do anything with it?” which beckons the broader dialogue we so desperately need to influence attitudes and eliminate negative stereotypes and opinions.
PHOTO|Liz Lauren
Goodman Theatre
August Wilson’s
GEM OF THE OCEAN
through February 27
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