August Wilson's "Joe Turner's Come and Gone" Revival Shines on Broadway
Nearly four decades following its initial presentation, August Wilson's profound drama, "Joe Turner's Come and Gone," graces the Broadway stage once more. This revival, helmed by Debbie Allen, delves into the complexities of Black existence in the post-Emancipation era, offering a poignant exploration of identity, belonging, and the enduring scars of historical injustices. Featuring compelling performances from Taraji P. Henson and Cedric the Entertainer, the production captivates with its emotional depth and resonant themes.
The narrative unfolds in a Pittsburgh boarding house in 1911, a sanctuary operated by Seth and Bertha Holly. Their establishment becomes a haven for individuals seeking refuge from the South's oppressive legacy and new prospects in the North. The arrival of Herald Loomis, a reserved drifter, and his young daughter, Zonia, disrupts the household's equilibrium, compelling its occupants to confront their pasts and shape their futures. The play masterfully portrays how the horrors of slavery, systemic racism, and societal inequities continue to ripple through generations, influencing every character's journey.
The play opens with Seth, a craftsman, returning from his factory shift, while Bertha prepares breakfast for their diverse boarders. Among them is Bynum Walker, a former enslaved man and conjurer, whose eccentricities are tolerated by the Hollys. The audience is gradually introduced to other residents, including Jeremy Furlow, a young guitarist from South Carolina, and Rutherford Selig, a white trader. Despite the pervasive racism faced by Jeremy and Seth and the enigmatic nature of Bynum's pronouncements, the boarding house radiates warmth and community. David Gallos's scenic design vividly brings to life this modest yet inviting home, filled with the aroma of Bertha's biscuits and the comfort of shared moments.
However, the atmosphere shifts dramatically with Herald Loomis's arrival, as he searches for his estranged wife, Martha. While Bertha is immediately drawn to Zonia, Seth and Bynum harbor suspicions about Herald, sensing his profound internal turmoil. The men, aware of Martha's whereabouts, choose to remain silent, believing it to be in her best interest. As the story progresses, Herald's desperate quest for his former self intensifies, mirroring the struggles of other characters in the boarding house.
Jeremy, despite facing his own adversities, is preoccupied with romantic pursuits, while Mattie Campbell seeks Bynum's mystical aid to reclaim her lost love, ultimately finding companionship with Jeremy. In stark contrast, Molly Cunningham, elegantly adorned in Paul Tazewell's stunning designs, embodies a forward-looking spirit, determined not to be defined by her past or gender. Meanwhile, Zonia forms a bond with Reuben Mercer, symbolizing a new generation of Black Americans who, while spared the direct experience of slavery, will face the systemic challenges of Jim Crow.
The audience eventually uncovers the source of Herald's deep-seated anguish: his unlawful capture and forced labor on a chain gang for seven years by Joe Turner, the governor of Tennessee's brother. This brutal separation from his family irrevocably altered his identity, leaving him stripped of his sense of self. The play powerfully illustrates how this traumatic experience, a direct consequence of a deeply flawed society, continues to haunt him.
As relevant today as it was at its 1989 debut, "Joe Turner's Come and Gone" transcends time. The entire cast, including the younger performers, delivers outstanding performances, even with Henson's somewhat limited stage time. The production vibrantly portrays the richness and complexities of Black American life, highlighting the enduring repercussions of slavery, racism, and discrimination, while celebrating the resilience and growth of Black individuals in the face of such adversities.
