BACK STAGE WEST
July 31, 2003
Opening This
Week: Gem of the Ocean
August Wilson
told me a secret: how to keep a character alive for centuries.
When I'd heard that Aunt Ester, a death-defying 300-year-old healer mentioned but never seen in Wilson's Two Trains Running and King Hedley II, would be the central character of his new Gem of the Ocean, opening at the Mark Taper Forum this week, I wondered how this supernatural character would fit into the naturalistic world his plays usually occupy.
"Obviously
nobody can live to be 300, but her memory is kept alive--it's passed on from
generation to generation," he explained. His solution, then, is to make
her a sort of human talisman--an identity passed like a mantle from one
"Aunt Ester" to the next. So by the time Gem opens in 1904, there have already been
"about four or five Aunt Esters," and though the Ester we see (played
by Phylicia Rashad), puts her age at 287, she's really "about 72 years
old," said Wilson. "She has been consciously carrying the memory, the
tradition of Africans." And we see that her niece Black Mary, another
character in Gem, is
likely to be the next anointed.
Mary's heritage,
and that of her brother in Gem, the landlord/sheriff Caesar, are likely to figure in Wilson's
next play--the last in his so-called "century project," in which he's
dramatized African-American life in each decade of the 20th century. Much as King
Hedley II and Gem have begun to employ common characters
across generations, Wilson's yet-to-be-written play, about the 1990s, will be
consciously conceived as a capper for the series. Though he didn't initially
start out to write a 10-play series, as he nears the closing lap, Wilson
admitted that he's "summing up, tying up." He also said, though, that
he's grateful he didn't know this from the beginning.
"I'm glad I
didn't do that all throughout--follow one family over generations," said
Wilson, whose childhood in Pittsburgh's Hill District was the wellspring and
setting for nearly all his writing. "That way there's an opportunity for
each of the plays to be totally its own thing, as a representation of
African-American life in the 20th century in different decades."
Wilson has
described his writing process as essentially being buttonholed by characters
who start talking to him and won't shut up. He talks back, other characters
emerge, and the play's world takes shape around their dialogue. This may be why
at their best Wilson's plays are distinguished less by well-made-play plotting
than by their overflowing talk, which is often rapturous, profane, lyrical,
harsh, and funny all at once.
It's also
probably why he has started to revisit characters. When he started writing
plays, he was a poet who had, by his own admission, not seen very many, so the
voices that spoke to him were straight out of the Hill District. Now that he's
been working with actors and directors for 25 years, and watching countless
productions of his work, it's as if his stage creations are asking for some
consideration, too.
The biggest
mouth, Wilson said, was on Hedley, the mysterious old sandwich seller in Seven
Guitars. "Hedley was
my most unruly character," recalled Wilson. "I kept telling him, 'Get
off the stage,' but he would threaten to tear down the theatre if he couldn't
tell his story."
But it was Hedley's
first name that started all the cross-referencing. While Hedley insists in Seven
Guitars that he doesn't
"tell nobody my name's King, 'cause it's a bad thing," when he
impregnates a young Southerner named Ruby, she declares, "If it's a boy, I'm
gonna name him King." Wilson had the play's other characters express his
reaction: "Why you wanna put that legacy on him?" It was the ironic
corrosion of that legacy, from the suggestion of African royalty to the reality
of American bondage, that Wilson explored in the 1980s-set King Hedley II.
In Gem, with characters who are historically
closest to slavery and emancipation, the legacy is fresher. At the play's
climax, Aunt Ester "washes" the soul of a young man named Citizen by
taking him on a sort of vision quest to the City of Bones, a mythical
mid-Atlantic island formed by the bones of Africans lost on the Middle Passage.
"The
Atlantic Ocean is the biggest unmarked graveyard in the world," Wilson
said, in a chilling metaphor. "Part of what I'm doing with the City of
Bones is marking itÑgiving it a headstone, if you will."
In his sense of
responsibility to his ancestors, to preserving and telling their stories,
Wilson is a little like Aunt Ester himself. But has the fiery young poet whose
first play, Jitney,
was about trash-talking gypsy cab drivers ever felt, as his plays and awards
and significance have mounted, this memorializing mission as a burden?
"No, I've
always thought it was a good thing," Wilson said. "I feel fortunate
that I discovered that project. It kept me safe and gave me a goal. It kept me
working."
In other words,
when characters threaten to tear down the theatre if you won't tell their
stories, you listen.
ÑRob Kendt
"Gem of
the Ocean" will be presented by the Center Theatre Group at the Mark Taper
Forum, Tues.-Fri. 8 p.m., Sat., 2:30 & 8 p.m., Sun. 2:30 and 7:30 p.m. July
31ÐSept. 7. $31-45. (323) 628-2772.