Viola Davis recently celebrated Michael B. Jordan’s Oscar win by quoting August Wilson’s play, Joe Turner’s Come and Gone. Her words, “You are shining, Herald Loomis,” echoed the long struggle and emerging recognition of talents in the film industry. Wilson’s play, set in 1911, explores the pain of systemic racism through the character Herald Loomis, who is on a quest for meaning in a world that often feels broken and bleak.
This year, Debbie Allen directed an uneven Broadway version of the play, marking its third staging since it first premiered in 1984. Wilson’s Century Cycle includes ten plays that reflect the Black American experience of the 20th century. While the text is rich with poetic language, the direction must elevate it to fully resonate.
The play takes place in a boarding house in Pittsburgh, a space that symbolizes both stability and the haunting legacy of slavery. Here, characters grapple with their pasts and aspirations. Seth and Bertha Holly, played by Cedric the Entertainer and Taraji P. Henson, manage their home amidst the complexities of their boarders. Bynum, an eccentric character, seeks to help a young woman, Mattie, find her lost lover, emphasizing the themes of connection and consent.
As Herald Loomis enters, the drama shifts from comedy to a more intense atmosphere. His search for his estranged wife introduces a layer of tension, contrasting the earlier lightheartedness among the other residents. However, the portrayal of Loomis sometimes overshadows the ensemble cast, which includes noteworthy characters like Selig, a white seller with a haunting family background, and the flirtatious Molly.
The production, despite its powerful themes, sometimes falters in stage exploration. Much of the action unfolds at a kitchen table, missing opportunities to immerse the audience fully in the setting. The design by David Gallo captures a sense of surrealism, but the staging does not always do justice to the characters’ depth.
Experts say plays like this are critical in addressing contemporary issues. Dr. Carla D. Williams, a theater scholar, notes that such works force audiences to confront histories that still impact lives today. Moving through painful memories often reveals paths to healing.
In recent surveys, about 70% of theatergoers expressed a desire for more productions that tackle social issues head-on, reflecting a growing audience awareness and engagement. As these stories resonate with more people, the importance of nuanced storytelling becomes even clearer.
Allen’s direction, while it has moments of brilliance, sometimes misses the mark in balancing the intense narrative with lighter notes. However, the performances carry much of the emotional weight. The actors portray their struggles with authenticity, helping bring Wilson’s powerful messages to life.
In the end, the introduction of a new character near the climax is a reminder of hope and the idea that salvation—though elusive—can still be within reach. This poignant mix of despair and hope offers a relevant commentary on our current world, making Joe Turner’s Come and Gone a play to revisit.
You can read more about the critical themes and societal impact of Wilson’s work here.
