BACK STAGE WEST
August 07, 2003
at the Mark
Taper Forum
All of August
Wilson's previous work seems to lead up to his new play, his ninth in a series
about African-American experience in each decade of the 20th century. And
that's this play's biggest problem: The sense of significance that freights
this narrative about former slaves trying to claim and understand their freedom
can be a little stifling, lending the play an allegorical gravity that feels
over-determined rather than discovered and distilled from the lives and voices
of his characters, as is the case with his best work.
There is
unmistakable grandeur in Wilson's conception of a City of Bones--a mythical
heavenly city built of the bones of those who died during the Middle Passage,
stranded between Africa and America--but it's a grandeur we merely observe
admiringly rather than feel cathartically. Director Marion McClinton's stately,
reverent production only seals the play's sense of its own importance. David
Gallo's expansive, high-ceilinged set, for instance, is clearly more suited to
the characters' climactic virtual journey on a slave ship than to the
naturalistic playing-out of day to day life in a boarding house in Pittsburgh,
1904.
Thank goodness,
then, for Phylicia Rashad, who makes Wilson's Aunt Ester--a voluble font of
wisdom and African-American memory going back 285 years--an engagingly
scatterbrained guru. Slumped into a hip-rolling old-lady walk and exuding an
air of casual authority, Rashad weaves Ester's axioms into her distracted
chatter rather than landing hard on each. And apart from one tear-milking
reverie for a dead son, Rashad plays Ester's true sacred heart close to the
vest, giving her all the more power when she fixes her gaze and doesn't let go.
It's a convincing and recognizable portrait of a batty-like-a-fox old broad,
flavored but not drowned by Rashad's congenital sweetness.
Going down
rougher, like a shot of hip-flask hooch, is Anthony Chisholm as Solly, a former
slave and tracker. Solly may symbolize the race's endurance against all odds,
physical and philosophical, but Chisholm doesn't play a symbol but a raw,
ravaged bantam--the kind of scrapper who's made sustenance of licking his own
wounds. Other characters don't get as many dimensions, either from Wilson or
from the actors: As Black Mary, Ester's reluctant young protege, Yvette Ganier
gets some fiery speeches, delivered with a budding fury, but Mary's
toughening-up arc is a fait accompli. As Eli, the good-hearted keeper of the
house, Al White gives each line an unvaryingly stentorian, tell-it delivery,
but it's all the character demands. And as Caesar, the high-yellow villain
who's both slumlord and sheriff, Peter Francis James strives mightily to shade
him with pathos, even vulnerability, but he's best with Caesar's peremptory,
cock-of-the-walk affrontiveness.
Least interesting
of all, unfortunately, is the portentously named Citizen--the young man who
comes to Ester for a soul-washing and gets instead a purgative vision-quest
tour of persecution and transcendence, played with little more than Dan Moses
Schreier's creaking-hull sounds, Donald Holder's eerie lighting, and the
incantations of the assembled cast. As Citizen, John Earl Jelks carries off
this devilishly difficult all-in-his-head mime scene as well as any actor
could. But, though we can see the soul-bursting wonder in his eyes at the first
glimpse of the City of Bones, we never quite feel it, because Citizen is no
more than a cipher, created to be filled with meaning by ancestral memory.
When, at play's
end, Citizen matter-of-factly assumes Solly's mantle, just as we know Black
Mary will assume Ester's, it seems right and inevitable--but only because, in
the rather precious, fable-like world of Gem, we know that the torch of a passing
generation will be picked up by the next, and the next. A heartening
affirmation, indeed, but one wishes Wilson had taken a cue from Rashad's
approach with Ester: Make the messenger live, breathe, laugh, and curse, and
we'll get the message.
"Gem of the Ocean," presented by the Center
Theatre Group at the Mark Taper Forum, Tue.-Fri. 8 p.m., Sat. 2:30 & 8
p.m., Sun. 2:30 & 7:30 p.m. July 31-Sept. 7. $31-45. (323) 628-2772.