Script Coverage for GEM OF THE OCEAN
By August Wilson, ©2003
Plot synopsis:
At play’s open, we meet Citizen Barlow, a recent transplant into Pittsburgh’s Hill District from the sharecropping farms of Alabama, who under extreme personal duress, has stolen a bucket of nails from the tin mill where he works, and his misdeed results in an innocent man’s death. Haunted by this responsibility, he seeks out the locally revered wise woman, Aunt Ester, to “wash his soul” of this terrible deed and psychological burden. Aging Aunt Ester puts Barlow to work while preparations are made for the climatic spiritual journey that leads Mr. Barlow and the audience into the heart of the play’s representational experience of the Middle Passage – the City of Bones. During the ensuing week, stresses mount as a chain of events (an innocent man’s death, labor strike, and arson fire) unleashed by Barlow’s initial crime creates dramatic opportunities for each character’s destiny to unfold through personal choices as each seeks their own form of freedom.
Dialogue:
Rich with imagery, rhythm and repetition like the poetry of a jazz improvisation, Wilson’s dialog rings true and authentic, always in service of character. The necessary exposition stays active and keeps us engaged as each new plot twist and tidbit of information surfaces – revealed like the wreckage from a slave ship whose debris breaches the surface to remind us of the horrors buried deep in American history. We recognize base human nature in the degrading and condescending remarks by Caesar Wilks [“I look around and see where niggers got to eat and niggers got to sleep. I say if I had some bread I’d be a rich man. I got some bread. In the valley of the blind the one-eyed man is king.” (37)] and revel in the inspiring imagery used by Aunt Ester [“The people got a burning tongue, Mr. Citizen. Their mouths are on fire with song.” (53)] Gem’s dialog reflects the unique rhythms beating within the hearts of its African American characters. Conveyed through tone, cadence, accent, and style, each character’s “sound” creates the soulful soundtrack for the tragedies and triumphs of their lives, and it is a sound served best in live theatre.
Characters:
Eli – Live-in handy-man, acts as Aunt Ester’s gate-keeper. Longtime compatriot of Solly Two Kings as part of the Underground Railroad.
Citizen Barlow – A young man, late twenties/early thirties. Single-minded in his need to unburden his troubled soul; a willing participant in his own revival.
Aunt Ester Tyler – Actual age unknown. Wise woman, and spiritual guide for her community. She is compassionately sovereign: the calm, yet commanding keeper-of-memories.
Black Mary – In her late twenties. Aunt Ester’s live-in help and reluctant protégé. Must decide if she is ready to wear the weighty mantel of spiritual guide and holder-of-the- memory for the people.
Rutherford Selig – Traveling salesman, peddler with a one-horse wagon and the only white character in the play. Although no saint, his character allows the perspective that not all white people are the enemy.
Solly Two Kings – Late sixties, former conductor for the Underground Railroad, courting Aunt Ester and a little danger.
Caesar Wilks – Black Mary’s older half-brother and local constable. Uses “the law” as his self-serving shield from self-reproach.
Conflict:
Citizen Barlow’s desperation instantly catalyzes action and conflict as he seeks to unburden his soul from the guilt of his murderous actions. The ensuing labor strike and community devastation when the local tin mill burns to the ground adds fuel to the already smoldering fire of social inequality and racism. Caesar’s true colors bleed through the mask of justice he wears as his shield from self-reproach as Black Mary unearths his penchant for vengeance. Will Black Mary side with her blood brother, or follow in Aunt Ester’s spiritual footsteps? Will Citizen be found out for his crime(s)? Will Caesar get to wreak his brand of (in)justice? The impending choices drive the play forward and keep us emotionally engaged. Thusly entangled in this deeply rooted social turmoil, we ask ourselves this question – what would I do if it were me? Then, as we ponder our options, Wilson deftly takes us to the precipice of hopefulness, yet does not spoon feed us the answers. The play resolves with an open-endedness that requests us to further ponder to what extent do we play a part in this social drama.
Theatricality: Realistic in form, the front rooms of Aunt Ester’s two-story home in which the entire play is set, requires but a single set with the minimum dressing. There is a window through which we might glimpse the era, season, town, time of day, or the mill fire or smoke. Although a period piece, simple “poor folk” costuming is another cost-effective benefit with few costume changes. Aunt Ester may be the exception, and could be creatively costumed to reflect heritage, ethnicity, and/or spirituality. However, it is in Barlow’s journey to the City of Bones, where the stage directions can certainly be augmented for theatrical effect and still stay true to the intent of the playwright. Imagine innocuous elements of the set transforming during the scene into a ship’s sails or mast, or rope with which the slaves were bound; evocative lighting creates patterns and shadows on a scrim/wall of the house depicting elements of the Middle Passage or City of Bones itself; sounds of wind-whipped sails, stormy seas, and cries of the tormented. This is a play ripe for a creative artistic vision using the imagery already introduced through the dialog and beyond.
Conclusion:
Playwright August Wilson serves us a slice of American history too seldom told, and speaks with authenticity of the racialized African American experience at the turn of the 20th century. From its spiritually charged center, Gem sates the conscious mind because it feeds us with truth after elemental truth, and grabs us by the collar with surprise, humor and a deep pathos for the unimaginable damage done to all our souls through all forms of slavery, whether by bill of sale or indebtedness. We need to hear the people’s “burning tongue” now more than ever.
By August Wilson, ©2003
Plot synopsis:
At play’s open, we meet Citizen Barlow, a recent transplant into Pittsburgh’s Hill District from the sharecropping farms of Alabama, who under extreme personal duress, has stolen a bucket of nails from the tin mill where he works, and his misdeed results in an innocent man’s death. Haunted by this responsibility, he seeks out the locally revered wise woman, Aunt Ester, to “wash his soul” of this terrible deed and psychological burden. Aging Aunt Ester puts Barlow to work while preparations are made for the climatic spiritual journey that leads Mr. Barlow and the audience into the heart of the play’s representational experience of the Middle Passage – the City of Bones. During the ensuing week, stresses mount as a chain of events (an innocent man’s death, labor strike, and arson fire) unleashed by Barlow’s initial crime creates dramatic opportunities for each character’s destiny to unfold through personal choices as each seeks their own form of freedom.
Dialogue:
Rich with imagery, rhythm and repetition like the poetry of a jazz improvisation, Wilson’s dialog rings true and authentic, always in service of character. The necessary exposition stays active and keeps us engaged as each new plot twist and tidbit of information surfaces – revealed like the wreckage from a slave ship whose debris breaches the surface to remind us of the horrors buried deep in American history. We recognize base human nature in the degrading and condescending remarks by Caesar Wilks [“I look around and see where niggers got to eat and niggers got to sleep. I say if I had some bread I’d be a rich man. I got some bread. In the valley of the blind the one-eyed man is king.” (37)] and revel in the inspiring imagery used by Aunt Ester [“The people got a burning tongue, Mr. Citizen. Their mouths are on fire with song.” (53)] Gem’s dialog reflects the unique rhythms beating within the hearts of its African American characters. Conveyed through tone, cadence, accent, and style, each character’s “sound” creates the soulful soundtrack for the tragedies and triumphs of their lives, and it is a sound served best in live theatre.
Characters:
Eli – Live-in handy-man, acts as Aunt Ester’s gate-keeper. Longtime compatriot of Solly Two Kings as part of the Underground Railroad.
Citizen Barlow – A young man, late twenties/early thirties. Single-minded in his need to unburden his troubled soul; a willing participant in his own revival.
Aunt Ester Tyler – Actual age unknown. Wise woman, and spiritual guide for her community. She is compassionately sovereign: the calm, yet commanding keeper-of-memories.
Black Mary – In her late twenties. Aunt Ester’s live-in help and reluctant protégé. Must decide if she is ready to wear the weighty mantel of spiritual guide and holder-of-the- memory for the people.
Rutherford Selig – Traveling salesman, peddler with a one-horse wagon and the only white character in the play. Although no saint, his character allows the perspective that not all white people are the enemy.
Solly Two Kings – Late sixties, former conductor for the Underground Railroad, courting Aunt Ester and a little danger.
Caesar Wilks – Black Mary’s older half-brother and local constable. Uses “the law” as his self-serving shield from self-reproach.
Conflict:
Citizen Barlow’s desperation instantly catalyzes action and conflict as he seeks to unburden his soul from the guilt of his murderous actions. The ensuing labor strike and community devastation when the local tin mill burns to the ground adds fuel to the already smoldering fire of social inequality and racism. Caesar’s true colors bleed through the mask of justice he wears as his shield from self-reproach as Black Mary unearths his penchant for vengeance. Will Black Mary side with her blood brother, or follow in Aunt Ester’s spiritual footsteps? Will Citizen be found out for his crime(s)? Will Caesar get to wreak his brand of (in)justice? The impending choices drive the play forward and keep us emotionally engaged. Thusly entangled in this deeply rooted social turmoil, we ask ourselves this question – what would I do if it were me? Then, as we ponder our options, Wilson deftly takes us to the precipice of hopefulness, yet does not spoon feed us the answers. The play resolves with an open-endedness that requests us to further ponder to what extent do we play a part in this social drama.
Theatricality: Realistic in form, the front rooms of Aunt Ester’s two-story home in which the entire play is set, requires but a single set with the minimum dressing. There is a window through which we might glimpse the era, season, town, time of day, or the mill fire or smoke. Although a period piece, simple “poor folk” costuming is another cost-effective benefit with few costume changes. Aunt Ester may be the exception, and could be creatively costumed to reflect heritage, ethnicity, and/or spirituality. However, it is in Barlow’s journey to the City of Bones, where the stage directions can certainly be augmented for theatrical effect and still stay true to the intent of the playwright. Imagine innocuous elements of the set transforming during the scene into a ship’s sails or mast, or rope with which the slaves were bound; evocative lighting creates patterns and shadows on a scrim/wall of the house depicting elements of the Middle Passage or City of Bones itself; sounds of wind-whipped sails, stormy seas, and cries of the tormented. This is a play ripe for a creative artistic vision using the imagery already introduced through the dialog and beyond.
Conclusion:
Playwright August Wilson serves us a slice of American history too seldom told, and speaks with authenticity of the racialized African American experience at the turn of the 20th century. From its spiritually charged center, Gem sates the conscious mind because it feeds us with truth after elemental truth, and grabs us by the collar with surprise, humor and a deep pathos for the unimaginable damage done to all our souls through all forms of slavery, whether by bill of sale or indebtedness. We need to hear the people’s “burning tongue” now more than ever.
© 2018-2020 by Colleen Dunn Saftler all rights reserved
