Gem of the Ocean
By August Wilson
Directed by Jemal McNeil
Audience Rating: PG-13 subject matter, dark humor, some language
Run Time: 2 Hours with one 10 minute intermission
Accessible Seating: Floor and riser seating
Hearing Devices: Not available
ASL Showing: Not Available
Sensory Friendly Show: Not Available
Sound Level: Comfortable Volume Level
Audio/Visuals to prepare For: None of note
Gem of the Ocean opens with an immediate sense of struggle and tension, pulling the audience into a world of hardship, hope, and resilience. Set in 1904, August Wilson’s story follows Black Americans as they navigate a society shaped by injustice, exploring themes of guilt, redemption, and spiritual strength. As the first play in his Pittsburgh Cycle timeline, it immerses viewers in both personal and collective histories.
The production opens strikingly with a video image of a young Black man struggling in a river—an arresting visual that immediately establishes the play’s stakes. Multimedia elements reappear throughout the performance, deepening the atmosphere and helping the audience deeply connect to the intensity and symbolism embedded in Wilson’s narrative.
Gem of the Ocean centers on Citizen Barlow, brought to life with aching, proud vulnerability by Brian Gibson. Haunted by guilt over his role in another man’s death, he arrives seeking absolution from Aunt Ester. Opposite him, Renee Miche’al Jones commands the stage as the 285-year-old former slave and spiritual matriarch, embodying a rare balance of tenderness and unshakable authority.
Guided by Aunt Ester, Citizen takes a haunting journey aboard the mythical boat "Gem of the Ocean" to the “City of Bones,” where the spirits of Africans lost to the Middle Passage linger. In a ritual blending magic and memory, his soul is cleansed. Aunt Ester’s power feels both supernatural and deeply human, and the production amplifies this with dark, colorful lighting, haunting spirituals, and striking staging.
The dynamic between Gibson and Jones forms the emotional spine of the production, framing one man’s quest for redemption within the broader realities of racial injustice and economic hardship in early twentieth-century America.
Black Mary, played with heart by Anyika McMillan-Herod, is Aunt Ester’s protégé, keeping the house while absorbing her mentor’s wisdom. Initially a pushover, she eventually asserts herself, and Ester’s calm response shows the test was intentional—McMillan-Herod captures Black Mary’s shift with confidence and hints at her readiness to inherit Ester’s role as the community’s spiritual guide.
Douglas Carter infuses Solly Two Kings with humor, heart, and a touch of grumpiness. Having escaped slavery, Solly returns as a conductor on the Underground Railroad, embodying the belief that freedom means little unless shared—and paired with real opportunity. His line, “What good is freedom if you can’t do nothing with it?” lingers long after the performance. Solly’s partnership with Eli, played with steady loyalty and compassion by J.R. Bradford, highlights his commitment to action, while Eli serves as Aunt Ester’s devoted caretaker and protector for those coming to be “cleansed.”
Caesar Wilks, played with pride and rigidity by Angelo Reid, is a stern, controlling official in the Hill District whose obsession with law and authority often clashes with those around him, including his sister Black Mary. As a boarding house owner, he enforces rules with ruthless precision, yet beneath his rigid exterior lies a deep commitment to family. When Black Mary rejects him, Reid reveals a rare vulnerability that briefly makes even this formidable figure sympathetic.
Rutherford Selig, played by Nash Farmer, is a traveling salesman who frequently visits Aunt Ester’s home to share news and gossip from the community. Trusting Aunt Ester’s wisdom, he willingly puts himself at risk to carry out her request. Notably the only white character in the play, Selig stands apart from the typical oppressors in Wilson’s work—he is respectful, hardworking, and treats his Black customers with dignity while aiding their path to freedom.
Under the assured direction of Jemal McNeil, the production treats the material with clear respect and emotional focus. He allows the language to unfold naturally, never rushing its poetry, while keeping the spiritual themes grounded in honest, human vulnerability.
The technical artistry in this production is not merely supportive—it is storytelling in its own right. Lighting designer Troy Carrico moves fluidly between warm naturalism and richly saturated hues, visually tracing the line between the tangible world and the play’s spiritual dimension. His shifts in color and intensity subtly reinforce the mystical currents running beneath the surface of the text.
Sound designer Paula Garcia weaves spirituals into the transitions with intention and restraint, enhancing the emotional landscape without pulling focus from the actors. The music feels organic, as though rising from the world of the play itself.
Scenic designer Gabirelle Malbrough offers a setting that feels weathered yet sacred—a home marked by hardship but rich with refuge. Her choice to replace solid walls with flowing white fabric gives the space an ethereal permeability; in moments of heightened spirituality, the fabric stirs and breathes, lending the stage a living, almost ancestral presence.
Costume designer Keira Powers deepens characterization through thoughtful detail and texture. Most striking is Aunt Ester’s magnificent coat of layered, flowing fabrics—an inspired design that cloaks her in quiet regality and reinforces her air of mystery and spiritual authority.
Soul Rep Theatre Company delivers a truly memorable Gem of the Ocean. The production captures the heart of August Wilson’s story, immersing the audience in a world of struggle, hope, and spiritual awakening. Every aspect—from the performances to the lighting, sound, set, and costumes—works together to create a rich, emotional experience. This is a play that resonates deeply, leaving viewers reflecting on redemption, resilience, and the enduring quest for freedom long after the curtain falls. Gem of the Ocean continues through Feb 22. Tickets can be found at soulrep.org
Let theatre take you places—it’s worth the ride.
Michael Winters
Comments
Post a Comment