Home Writers Directory Carol Davis April 30, 2007 |
by Carol Davis
August
Wilson re-creates
the 60s
in
Old Globe's
Two Trains Running
SAN DIEGO—On April 23, news flashed on printing presses, on line and
TV
announced that Turner County High School
(that’s in Georgia in case
you missed it) will have its "first integrated
senior prom." Why is it still a
segregated prom, you ask? “Because it’s
always been tradition to hold two
different proms: One for Blacks and one
for Whites.” I don’t know if you’ve
ever been locked out of a social,
political or economic situation or not, but
tradition seems like a sorry
reason for continuing a policy that clearly smacks
of discrimination.
I’m sure many of us Jew have felt
that pressure of denial and ignorance,
of discrimination and downright hate in the past as some still do in many
countries. But discrimination is discrimination whether it be against
Blacks, Jews or Gays. Whether or not you leave it in or take it out
of the history books, there are always oral historians like August Wilson
whose words will be remembered for generations. However, after the Civil
Rights Act, Blacks thought they had finally won their victory against
discrimination. They wanted what every other (White) citizen had; equal
rights,
treatment and justice. It wasn’t always that easy as witnessed by
this latest news
release in Georgia.
When Black Playwright August Wilson
wrote Two Trains Running in
1992, he had already penned Gem of the Ocean; Joe Turner’s Come
and Gone; Ma Rainey’s Black Bottom; The Piano Lesson; Seven Guitars;
and
Fences. Yet to be written before his untimely death to cancer in
2005 were Jitney;
King Hedley II; and Radio Golf. His gift to
us was to write
a decade by decade cycle of plays chronicling the Black experience in
20th century America. His history chronicle spanned the twentieth
century starting in 1900 with the slave trade in America to the next
generation.
Two Trains Running ,which
premiered in San Diego in 1990 at the
Old Globe, is back there once again in another multifaceted production
directed
by The Globe’s associate artistic director Seret Scott. The
action takes place in the
Hill District of Pittsburgh in Lees Cafe toward
the
end of the 60’s.The once booming neighborhood is almost deserted
and save for Memphis Lees’ eating establishment,
which is on the auction
block, and a few other Black businesses, the area is slated
for urban
renewal. The 60’s is already in the throes of civil strife and there’s
more to come.
Like so many other small neighborhood
businesses in this country,
there was always one store in particular, and probably one in every
ethnic group, where the locals hung out, shot the breeze, did some
dealings, made new contacts and without a doubt, knew everyone else’s
business whether they were regulars or not. Not much of what went
on in this diner contradicts this observation. Again, as in every ethnicity,
there is a rhythm to the conversation, a musical cadence, if you will.
Wilson’s
characters in Trains are no different and it doesn’t take
long to follow the different
tempo’s of each character. Some of the
language is politically incorrect in today’s
politically correct
environment, but Wilson wrote as it was.
At the center of this drama, and a
large presence, both physically and emotionally
is Memphis (Chuck Cooper).
His hue and cry is that he
wants fair market price for his property (not less than $25,000) and
he damn well better get it. He knows time is not on his side, but he will
hold out not matter what. If he has to go to City Hall every day, he will.
He was cheated out of some land years ago and it’s not going to happen
to him again.
His one and only Girl Friday is Risa
(Roslyn Ruff) who has major issues about
her self esteem. In an act of
daring some time ago she disfigured
her legs leaving scars on them so as not to draw attention to her full
figure. She waits tables, makes the items on the daily menus and does
some shopping. She moves like someone in slow motion and is rather the
mystery
woman in the group. Still, she has the unwanted attention of both
Wolf and Sterling.
|
Included in the regulars is Wolf (Montae
Russell), who runs the numbers out of the diner and that becomes a bone of contention between Memphis and himself even though Memphis bets a few here and there. |
(l-r)Roslyn Ruff as “Risa” and Edi Gathegi as “Sterling”; (l-r) James Avery as “Holloway,” Al White as “West,” Montae Russell as “Wolf” and Edi Gathegi as “Sterling”; James Avery and Chuck Cooper as "Memphis." Photos by Craig Schwartz. | He’s what I would call "the underworld figure." He knows where to purchase guns (carries one himself) and makes sure everyone knows about his conquests. |
Holloway (James Avery) is the store philosopher.
He is the voice of reason and experience.
West (Al White)is the community undertaker and the wealthiest of the group because
“everyone dies sometimes.” West is dressed like a dandy in black
from head to toe including
black leather gloves. And while he shows up now
and then, he carries a large presence. He
would like to buy
Memphis’ property, but won’t offer him fair market price. Another little
song and dance.
There is a character named Hambone
(Willy C. Carpenter) who is a bit
off his rocker always
in a fit because he once painted the fence of the
local butcher (white) and the butcher promised him a ham if he did a good
job, but instead gave him a chicken. It’s a recurring visit he makes,
and no
one seems to take notice of him, but no one can completely ignore him;
somewhat like
the issue of segregation. All are pretty much ‘old school’,
follow-the-rules-and-you-will-be- rewarded types. Rounding out the
group is Sterling (Edi Gathegi) the new kid on the block.
He just got out
of jail and is fightn’ ready to join Malcolm X in his quest for ‘Black
Power’. He sees Martin Luther King as passé. He has eyes for Risa, but so
far, she ignores him.
I would be remiss if I failed to
mention the one inanimate character,
the jukebox which garners more attention while it’s broken than when it
finally works in
the last scene of the second act. There is also an
offstage, 350-year-old woman, Aunt Esther,
whose name is used in reverence
as
their spiritual guide. Another wealthy local whose body
is on display
in the funeral parlor for all to pay their respects is also a common topic
of conversation. All three become the center of some conversation at
one time or another.
In what amounts to a little close to
three hours, we are leisurely drawn
into Wilson’s slice of life drama not so much by what happens, because there
is very
little action going on, by what’s being said. This is a community of
friends, shooting
the breeze, worrying about property, money, politics and
the future. They dance a dance
that can only look
like it’s been rehearsed because they have been around the floor before
and with the same people. With the exception of Sterling, who manages
to snag just what he wants, his future and their past are on a collision
course.
With a talented cast that has a clear
understanding of where they fit in
this picture drama, Cooper’s Memphis holds his own while retelling a
sorrowful tale
of anguish when his property was stolen from him years
ago. In such situations as Memphis ordering Ruff’s Risa around in a
fatherly-like scolding way to White’s West continual low
balling Memphis
for the sale of his property, all the characters fit like a completed
puzzle.
Montae Russell’s Wolf is a powerhouse of anxious energy and drive
while James Avery’s Holloway’s confident and soothing manner lends
an absolute credibility to his philosophical teachings.
Roslyn Ruff’s Risa is a bit more
difficult to figure out. Shy at the outset,
one almost has to wonder what this character is about. Willie Carpenter’s
Hambone is one character you will not forget. His portrayal of the
troubled man is right on target and if you
have ever been downtown
and seen some of the street people you will understand. Finally,
Edi Gathegi’s Sterling is another storehouse of energy just waiting to blossom
to be, what?
That is the unanswered question.
Karen Perry’s costumes are right on
target 60’s. With Chris Rynne’s
lighting and Tony Fanning’s picture perfect 60’s set. all is reminiscent of
many local
diners of the past having everything in it needed to be
serviceable including that jukebox.
In the background are two larger than
life portraits of Martin Luther King, Jr. and Malcolm
X hanging over theset as a reminder of a future still unsettled. Across the street from the
diner are a series of business signs in black and white of establishments
out of business;
another gauge of the signs of the times. It’s a
worthwhile production and a chance for one
more look at a struggle,
from other eyes, in another era, that has yet to be resolved.
Two Trains Running will
continue through May 27th. Globe Box Office can be reached
by calling:
619-23GLOBE or on line at:
www.TheOldGlobe.org.
See you at the theatre.