Journey to Freedom

Gem of the Ocean – Goodman Theatre

What an exciting and theatrically perfect way to kick off Black History Month! Pulitzer Prize-winner, August Wilson, is the revered playwright, known for his ten-play body of work that’s been called the “Pittsburg Cycle” or the “Century Cycle.” The reasons are obvious: Every play is set in Pittsburg and each of the dramas represent a different decade of the twentieth century. The cycle begins with this play, which is set in 1904, and is now having an auspicious revival at the theatre where it originally premiered. Wilson attempted to chart the African-American Experience in America as times changed and the country continued to evolve, from the Emancipation of Slavery through to the Civil Rights Movement. The Goodman’s new production is a magnificent ethereal journey to freedom for its diverse characters, and a powerful experience that audiences will never forget.

This sweeping epic drama covers so much ground that it defies an easy plot description. The seven characters in this play each have their own story to tell. Several of them began their lives as slaves, and their suffering and triumph over what they went through is a huge part of this story. As the play unfolds, we discover that Pittsburgh, in the early part of the twentieth century, was a growing metropolis full of turmoil and power struggles. African-Americans, who have lived through so much already, suddenly found themselves involved in riots and labor strikes under an unjust new system of laws. Wilson often included elements of the supernatural in many of his dramas, but this play is easily the most mystical offering in the collection. Aunt Ester is the practical-minded matriarch of a sanctuary house, where peace is provided to the strays she takes into her extended family. She’s a woman who, at 285 years of age, can vividly recall her life as a slave. Played with compassion and the air of a true queen, by the sensational Lisa Gaye Dixon, Aunt Ester is a soul cleanser. Her character appears or is referenced in several other of

Wilson’s plays, as well. In this story, Aunt Ester takes in a troubled young man, who goes by the name of Citizen Barlow (portrayed with sensitivity, anguish and, eventually, unselfish strength, by Sharif Atkins). Barlow feels the weight on his conscience of a few transgressions, one of which led to the death of an innocent man. So Barlow has come from Alabama, hoping that the esteemed Aunt Ester can wash away his guilt and unrighteousness. 

The highlight of this production, generously and meticulously directed by Chuck Smith (whose impressive resume includes the direction of several of August Wilson’s other plays), is the unworldly, awe-inspiring spiritual journey that Aunt Ester and her friends take Citizen Barlow on to the fabled City of Bones. She folds a piece of paper into a toy boat and gives it the young man. The prop becomes the titular slave ship that brought Ester to America, so many years ago. It will also convey young Barlow to another, surrealistic world beyond this one, a place that’s built from African folklore and the skeletal remains of dead slaves. 

In a gorgeous ethereal scene that combines great theatrical performances by this talented cast, and exquisite technical artistry, the audience is chillingly transported along with Citizen Barlow to the supernatural realm. Kudos go to the artistic genius of Mike Tutaj, for his incredible moving projections, Robert Perry, who creates an eerie, ghost-like atmosphere with his moody lighting, as well as the original music and the realistic palette of sound, designed by Pornchanok Kanchanabanca. This is one of those moments in the theatre that absolutely takes your breath away and leaves audiences stunned by its brilliance.

The cast of seven characters include Solly Two Kings (as majestically portrayed by James A. Williams), Aunt Ester’s longtime friend, admirer and a fellow slave. While he earns his living collecting dog poop and selling it to leather makers, Solly is a renowned freedom fighter and a man wise beyond his years. He and Eli, Aunt Ester’s personal assistant and jack-of-all-trades (beautifully played with gravitas, pride and dignity by the excellent A.C. Smith), both worked together on the Underground Railroad, helping conduct escaped slaves to freedom in Canada. Both men are survivors and have risen above the horrors that’ve experienced. The group’s fight for freedom also includes assistance from loyal-hearted peddler, Rutherford Selig (portrayed by talented veteran Chicago character actor, Gary Houston). Always ready to lend a helping hand, Selig plays an important part in the play’s final moments.

Lovely Sydney Charles, who recently displayed her theatrical diversity and prowess in Lookingglass Theatre’s “Her Honor Jane Byrne,” is stunning as Black Mary, Aunt Ester’s talented cook and proud protege. She provides the backbone of this sanctuary house, and may possibly be considered a romantic interest for handsome, young Citizen Barlow. Mary’s brother Caesar, the bullying Deputy of the law, is the adversary in this story. Ever on the lookout for crime and probable criminals, he’s played with arrogance, brutal force and a no-nonsense attitude by the gifted, always impressive, Kelvin Roston, Jr. Despite always showing up, ready to create trouble when there’s nothing but peace and tranquility, the audience can find a touch of humor and a bit of compassion for this man who’s become a cog in the machine of white power.

Told within Linda Buchanan’s towering, two-story scenic design, with its awesome, blue-gray shiplap walls, this is an immaculately acted, directed and artistically produced production, one that August Wilson would’ve been proud to bear his name. Be warned that it’s a long play, over three hours with intermission; but the time flies by, as you become caught up in these characters and their respective stories. Alternately told in quiet, leisurely strokes, filled with humanity, and seasoned with high drama and supernatural surrealism, with just a soupcon of humor and whimsy, this stunning play is a classic. It moves audiences to understand and truly feel the rigorous, ongoing journey to freedom for its African-American characters. This is definitely a production that should not be missed.     

Highly Recommended

Reviewed by Colin Douglas

Presented January 22-February 27 by the Goodman Theatre, in the Albert auditorium, 170 N. Dearborn, Chicago.

Tickets are available in person at the Goodman box office, by calling 312-443-3800 or by going to www.GoodmanTheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.