Arts in Review

 by Carol Davis      
                     ___________________

August Wilson re-creates the 60s
in Old Globe's Two Trains Running

SAN DIEGO—On April 23, news flashed on printing presses, on line and
TV announced that Turner County High School (that’s in Georgia in case
you missed it) will have its "first integrated senior prom." Why is it still a
segregated prom, you ask? “Because it’s always been tradition to hold two
different proms: One for Blacks and one for Whites.” I don’t know if you’ve
ever been locked out of a social, political or economic situation or not, but
tradition seems like a sorry reason for continuing a policy that clearly smacks
of discrimination.

I’m sure many of us Jew have felt that pressure of denial and ignorance,
of discrimination and downright hate in the past as some still do in many
countries.  But discrimination is discrimination whether it be against 
Blacks, Jews or Gays. Whether or not you leave it in or take it out
of the history books, there are always oral historians like August Wilson
whose words will be remembered for generations. However, after the Civil
Rights Act, Blacks thought they had finally won  their victory against
discrimination. They wanted  what every other (White) citizen had; equal rights,
treatment and justice. It wasn’t always that easy as witnessed by this latest news
release in Georgia.

When Black Playwright August Wilson wrote Two Trains Running in
1992, he had already penned Gem of the Ocean; Joe Turner’s Come
and Gone; Ma Rainey’s Black Bottom; The Piano Lesson; Seven Guitars; and
Fences. Yet to be written before his untimely death to cancer in 2005 were Jitney;
King Hedley II; and Radio Golf.  His gift to us was to write
a decade by decade cycle of plays chronicling the Black experience in
20th century America. His history chronicle spanned the twentieth
century starting in 1900 with the slave trade in America to the next generation.

Two Trains Running ,which premiered in San Diego in 1990 at the
Old Globe, is back there once again in another multifaceted  production directed
by The Globe’s associate artistic director Seret Scott. The action takes place in the
Hill District of  Pittsburgh in Lees Cafe toward the end of the 60’s.The once booming neighborhood is almost deserted and save for Memphis Lees’ eating establishment,
which is on the auction block, and a few other Black businesses, the area is slated
for urban renewal. The 60’s is already in the throes of civil strife and there’s
more to come. 

Like so many other small neighborhood businesses in this country,
there was always one store in particular, and probably one in every
ethnic group,  where the locals hung out, shot the breeze, did some
dealings, made new contacts and without a doubt,  knew everyone else’s
business whether they were regulars or not. Not much  of what went
on in this diner contradicts this observation. Again, as in every ethnicity,
there is a rhythm to the conversation, a musical cadence, if you will.  Wilson’s
characters in Trains are no different and it doesn’t take long to follow the different
tempo’s of each character.  Some of the language is politically incorrect in today’s
politically correct environment, but Wilson wrote as it was.

At the center of this drama, and a large presence, both physically and emotionally
is Memphis (Chuck Cooper). His hue and cry is that he
wants fair market price for his property (not less than $25,000) and
he damn well better get it. He knows time is not on his side, but he will
hold out not matter what. If he has to go to City Hall every day, he will.
He was cheated out of some land years ago and it’s not going to happen
to him again.

His one and only Girl Friday is Risa (Roslyn Ruff) who has major issues about
her self esteem. In an act of daring some time ago she disfigured
her legs leaving scars on them so as not to draw attention to her full
figure. She waits tables, makes the items on the daily menus and does
some shopping. She moves like someone in slow motion and is rather the mystery
woman in the group. Still, she has the unwanted attention of both Wolf  and Sterling. 

	Included in the regulars is Wolf (Montae Russell), who runs the numbers out of the diner and that becomes a bone of contention between Memphis and himself even though Memphis bets a few here and there.
(l-r)Roslyn Ruff as “Risa” and Edi Gathegi as “Sterling”; (l-r) James Avery as “Holloway,” Al White as “West,” Montae Russell as “Wolf” and Edi Gathegi as “Sterling”; James Avery and Chuck Cooper as "Memphis." Photos by Craig Schwartz.	He’s what I would call "the underworld figure." He knows where to purchase guns (carries one himself) and makes sure everyone knows about his conquests.

Holloway (James Avery) is the store philosopher. He is the voice of reason and experience.
West (Al White)is the community undertaker and the wealthiest of the group because
“everyone dies sometimes.” West is dressed like a dandy in black from head to toe including
black leather gloves. And while he shows up now and then, he carries a large presence. He
would like to buy Memphis’ property, but won’t offer him fair market price. Another little song and dance.

There is a  character named Hambone (Willy C. Carpenter) who is a bit off his rocker always
in a fit because he once painted the fence of the local butcher (white) and the butcher promised him a ham if he did a good job, but instead gave him a chicken. It’s a recurring visit he makes,
and no one seems to take notice of him, but no one can completely ignore him; somewhat like
the issue of segregation. All are pretty much ‘old school’, follow-the-rules-and-you-will-be- rewarded types. Rounding out the group is Sterling (Edi Gathegi) the new kid on the block.
He just got out of jail and is fightn’ ready to join Malcolm X in his quest for ‘Black
Power’. He sees Martin Luther King as passé. He has eyes for Risa, but so far, she ignores him.

I would be remiss if I failed to mention the one inanimate character,
the jukebox which garners more attention while it’s broken than when it finally works in
the last scene of the second act. There is also an offstage, 350-year-old woman, Aunt Esther,
whose name is used in reverence as their spiritual guide. Another  wealthy local whose body
is on display in the funeral parlor for all to pay their respects is also a common topic
of conversation.  All three become the center of some conversation at one time or another.

In what amounts to a little close to three hours, we are leisurely drawn
into Wilson’s slice of life drama not so much by what happens, because there is very
little action going on, by what’s being said. This is a community of friends, shooting
the breeze, worrying about property, money, politics and the future. They dance a dance
that can only look like it’s been rehearsed because they have been around the floor before
and with the same people. With the exception  of Sterling, who  manages
to snag just what he wants, his future and their  past are on a collision course.

With a talented cast that has a clear understanding of where they fit in
this picture drama, Cooper’s Memphis holds his own while retelling a sorrowful tale
of anguish when his property was stolen from him years ago. In such situations as Memphis ordering Ruff’s Risa around in a fatherly-like scolding way  to White’s West continual low
balling Memphis for the sale of his property, all the characters fit like a completed puzzle.
Montae Russell’s Wolf is a powerhouse of anxious energy and drive while James Avery’s Holloway’s confident and soothing manner lends an absolute credibility to his philosophical teachings.

Roslyn Ruff’s Risa is a bit more difficult to figure out. Shy at the outset,
one almost has to wonder what this character is about. Willie Carpenter’s Hambone is one character you will not forget. His portrayal of the troubled man is right on target and if you
have ever been downtown and seen some of the street people you will understand. Finally,
Edi Gathegi’s Sterling is another storehouse of energy just waiting to blossom to be, what? 
That is the unanswered question.

Karen Perry’s costumes are right on target 60’s. With  Chris Rynne’s
lighting and Tony Fanning’s picture perfect 60’s set. all is reminiscent of  many local
diners of the past having everything in it needed to be serviceable including that jukebox. 
In the background are two larger than life portraits of Martin Luther King, Jr. and Malcolm
X hanging over theset as a reminder of a future still unsettled. Across the street from the
diner are a series of business signs in black and white of establishments out of business;
another gauge of  the signs of the times. It’s a worthwhile production and a chance for one
more look at a struggle, from other eyes, in another era, that has yet to be resolved.

Two Trains Running will continue through May 27th. Globe Box Office can be reached
by calling: 619-23GLOBE or on line at: www.TheOldGlobe.org.

See you at the theatre.