August Wilson's 1986 play, Joe Turner’s Come and Gone, part of his Century Cycle, has been triumphantly revived at the Taper, thanks to the splendid work of its cast and director. Credit the Center Theater Group, as well, for providing strong production values -- especially John Iacovelli's lavish boardinghouse set and Karen Perry's evocative period costumes.
Set in 1911, in Pittsburgh's black ghetto, the play works on many levels. Seth and Bertha Holly (Keith David and Lillias White, respectively) are second-generation cityfolk who have achieved a measure of success and stability; they not only own property (the Hill District boardinghouse) but are raising capital to start a tinsmithing business. Rooted as they are, they have misgivings about the large numbers of southern blacks flooding into Pittsburgh in search of work and a measure of freedom. "They're gumming up the works," Seth complains to his wife -- even as he gladly makes money by renting out rooms to these transients.
The social upheaval takes its toll on just about every character in the play. Not only is there a skirmish between rural and urban values but a deeper, bloodier battle for control of their own destiny.
At the forefront of this battle is Herald Loomis (John Douglas Thompson), a mysterious figure in black who shows up at the boardinghouse with his young daughter, Zonia (Skye Barrett). Loomis, an ex-deacon, was forced into seven years of hard labor by the notorious plantation owner -- and bounty-hunter -- Joe Turner. Loomis lost not only his wife Martha but his Christian faith during his time on Turner's chain-gang. Bereft, seething with hatred for America's corrupt, racist society, he wanders around in search of Martha (Erica Tazel), believing that he will not be able to "begin again" until he finds her.
The only man who understands and tries to help him is Bynum Walker (Glynn Turman), an old “woollyhead” who is a cross between a conjuror and a lay therapist. Bynum works his unique magic on Bynum, helps him find his "song" again -- his African identity, really. This happens in the climactic scene of the play, with the bible-spouting Martha trying to get him to be return to the Pentecostal church.
Wilson dramatizes these weighty, complex issues with his customary skill and flair, employing all the humor, poetry and passion he can muster. The result is a great American play brought to memorable life by Rashad and her exemplary cast.
