Roger Robinson plays Bynum, a man seeking a higher truth, and Marsha Stephanie Blake plays Mattie, a deserted women in August Wilson’s lush “Joe Turner’s Come and Gone.” (T. Charles Erickson)
Part of Wilson's 10-play cycle chronicling the story of blacks in America in each decade of the 20th century, the story takes place in a boardinghouse in 1911 Pittsburgh, run by husband and wife Seth and Bertha Holly (Ernie Hudson, LaTanya Richardson Jackson). The boardinghouse does good business, as many blacks have come north looking for work away from the plantations and fields. As shown in a stirring opening scene, many people are constantly on the road traveling to someplace or something new, even if they are not yet sure what their final destination will be.
The latest tenant to arrive at the boardinghouse is the mysterious and haunted Herald Loomis (Chad L. Coleman) and his young daughter Zonia (Amari Rose Leigh). The two have been on the road for the past three years, searching for Herald's wife who disappeared a decade earlier.
In his quest, Herald engages the services of Rutherford Selig (Arliss Howard), a peddler and finder of lost people. This latter practice has always run in Rutherford's family—his father helped track down runaway slaves for plantation owners.
Also at the boardinghouse is Bynum Walker (Roger Robinson), an aged fellow who claims to have the power to bind people together, such as lovers, relatives, and people simply going the same way in life. Bynum is on a quest of his own—to find the mysterious "shiny man" he saw in his travels long ago.
Another tenant is Jeremy Furlow (Andre Holland), a young man with a wandering eye for the fairer sex, whose current interests take the form of Mattie Campbell (Marsha Stephanie Blake), whose husband recently left her; and Molly Cunningham (Aunjanue Ellis), a somewhat more worldly woman.
While the boardinghouse is usually a quiet place to live, (Seth only takes in respectable people), Herald's presence casts an uneasy feeling in the air. Tall and brooding, always clad in black, he has the look of an outsider and someone who has literally forgotten how to feel. Indeed, his actions at a Sunday dinner have Seth ordering Loomis to pack up and leave. However, before he does, both Herald and Bynum will finally come face-to-face with what they're looking for, as opposed to actually finding them, while several others will have their souls set on the path to a new life.
One of the wonderful aspects of a Wilson play is the richness of his text. It offers a gigantic tapestry of characters and issues—more in "Turner" than many of his other works. Every character presented is fully drawn, from Seth, a man who likes things nice and orderly, and who tries to look ahead as much as possible, to Reuben Scott (Michael Cummings), a young boy who strikes up a rather sweet friendship with Zonia. Weaved into the various story lines is a look at the country's tumultuous past. With memories of the Civil War still fresh in most people's minds, its repercussions can be clearly seen and felt.
There's also an underlying restlessness present in many of the characters, with just about all of them looking to move onto something different. These factors all combine to yield a rich tableau, where the passions of the characters lurk just below the surface, waiting for the moment to break free.
The entire cast is excellent. Robinson holds the story together in the seemingly understated role of Bynum, the one man who truly understands and respects the past, and who knows the role it plays in the future. (Bynum represents a favorite theme of the playwright, that of the seer and seeker of truth.)
Also good is Coleman as Loomis, a man haunted by demons and visions. He desperately searches for his past when he should be looking for his future. Adding a bit of comic relief (poignant at times) are the escapades of Furlow, a young man in a hurry. He is honest and hardworking, yet rather free in the morals department. As nicely played by Holland, this is someone looking for good times and sweet comfort, yet one can see the glimmer of pain and heartbreak on his road ahead.
Bartlett Sher's strong direction guides the actors with a gentle hand, keeping the action moving smoothly and letting the power of the text come through full force.
The sets by Michael Yeargan work quite well, especially with the opening sequences, as does the lighting by Brian MacDevitt, and sound design by Scott Lehrer and Leon Rothenberg.
Also in the cast is Danai Gurira.
Joe Turner's Come and Gone
Belasco Theatre
111 West 44th Street
Tickets: 212-239-6200 or www.telecharge.com
Running Time: 2 hours, 50 minutes
Closes: June 14
Judd Hollander is the New York correspondent for the London publication The Stage.
