Black Theatre Troupe's Joe Turner's Come and Gone
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 4/8/00
(out of )Simply put, August Wilson is one of the greatest living American playwrights. He vocalizes the unique history and situation of African Americans in a universally honest way. While he is more chronicler than activist, his plays speak of hardships and hard-won triumphs, observing the essential otherness of ancestral Africans in an unfamiliar, and often unfriendly American setting. As explored in his wonderful script, Joe Turner's Come and Gone, African Americans at the turn of the century are struggling to recreate their own identity after emancipation has lead to a search for a balance between African rhythms and American realities. Centered on a Pittsburgh boarding house, transient African Americans collide and connect, desperate to reform and redesign their pasts and themselves to reap happiness from their toils.
Director Kenneth W. Daugherty, fresh from his triumph with the wonderful production of The Old Settler, here guides a cast of eleven through Wilson's intricate world. His is a successful production that, despite a few flat performances, rough moments and production hesitations, still manages to entertain and capture the audience's imagination during its several powerful cathartic moments.
The strongest of the ensemble is the triumvirate of boarding house owners and long-time tenant. As the married couple of Seth and Bertha Holly, Mike Traylor and Martaé have the same kind of depth to their relationship that made The Old Settler so successful. These two performers have such a long-term connection, it's hard to believe that there isn't a long-term relationship between the two. Mr. Traylor's quick-paced colloquialisms and Martaé's silent support and powerful presence are the base upon which this show rests. In his integral role as resident spell-maker Bynum, Rod Ambrose is perfectly cast and powerfully spooky. He embraces this role with a great bear hug, never afraid to overplay to spectacular effect. There is nothing small about Mr. Ambrose's offering, nor should there be. It is this trio that carries the over-two-and-a-half hour show, and we're glad for their efforts.
Several of the rest of the ensemble are impressively solid. Lorin Akers plays recent southern transplant Jeremy broadly and powerfully, just as Carolyn Parsons wriggles into her live-for-the-moment character, Molly, with moxie and seductiveness. Gary Imel puts in a strong performance as travelling salesman Rutherford, so real in the role that his easy drawl and languid pipe-smoking belie his character's slightly sinister roots. While having seemed a bit stiff in the first act, Marika Burton settles into her role of the forlorn Mattie, capturing the necessary regal air and power. And, though they rush their lines a bit, Jennifer Jackson plays the young Zonia with a quiet intensity, and Kenneth Jackson is cute as next door neighbor Ruben.
The last two members of the ensemble are a hodgepodge of some powerful moments mixed with some problematic performances. As the center of the play, Kwane Vedrene only gives three full dimensions to the disturbed, searching Harold near the end of the show, though he invests himself fully in the overwhelming and disturbing pre-intermission frenzy. As Martha, Toni Robinson is not able to hit the right chords in what is a textually difficult character.
Scenic Designer Thom Gilseth has taken Mr. Daugherty's vision and given it a great reality. The several playing areas of this sprawling living and dining room are great, full of so many lovely details, from the shelf above the stone fireplace to the period couch in the front parlor. Michael J. Eddy's lighting is often effective, though sometimes too dim to adequately allow the audience to see some action. Carol Simmons' costumes are right in synch with the members of this 1911 Pittsburgh boardinghouse.
While some of the long monologues and quick exchanges were muffed by a few actors, and some of the choreographed moments of the show stumbled, giving it a slight under-rehearsed feel, this is a production that captures the power of Mr. Wilson's superb script. The nearly full-house on the second weekend's Saturday performance gave the show a standing ovation, acknowledging that a difficult show was given a generally impressive production by director, designers and performers.
Production Details:
Joe Turner's Come and Gone by
August Wilson
Black Theatre Troupe
The Helen K. Mason Center for the Performing Arts, Phoenix
(602) 258-8128
March 30th - April 16th, 2000