Playwright August Wilson can certainly be something of an acquired taste, as evidenced by the reactions to his Fences, The Piano Lesson, and Ma Rainey’s Black Bottom. His takes on Black America examine a time long gone, yet still feel achingly relevant for the black community. His works often utilize a dash of magical realism and spiritualism in their retelling. A central player will often have some manner of revelation, changing everyone around them in the process. Joe Turner’s Come and Gone comes to the Broadway stage utilizing a gorgeous, static set that allows a varied roster of characters to come in and out the revolving doors of its boarding house. It also features an all-star cast at the helm, including Taraji P. Henson, Cedric the Entertainer, Ruben Santiago-Hudson, and Joshua Boone. While the tone can be inconsistent and characters not all essential, Come and Gone features some terrific acting performances and immaculate staging to elevate the occasional shortcomings.
Set at a 1911 Pittsburgh boarding house, this show catalogues the tumultuous trials and tribulations of a mysterious stranger and his daughter during the week they stay with the generous Bertha (Henson) and Seth (Cedric) Holly. Maybe not so generous in Seth’s case—he’s a stickler for the $2-a-week fee to stay with the Holly’s. When a mysterious stranger dressed in black from head to toe arrives with his daughter, Zonia (Savannah Commodore), they bring with them the potential to uproot the relative calmness of the Holly homestead. Boone plays the stranger, Herald Loomis, with a ferocious intensity. One can feel an energy bubbling beneath the surface from the moment Boone walks through the front door. The restraint needed to pull off the role absolutely speaks to the prowess of Boone’s acting ability.
There are quite a few regulars at the Holly place, as well as fresh faces introduced during the week of Herald and Zonia’s stay. The only true standout of the guests is witch doctor/spiritual healer Bynum Walker (Ruben Santiago-Hudson), a character who’s always babbling off some story, or imparting crucial wisdom on those around him. Santiago-Hudson brings a warmth to Bynum—the manner in which he recounts tales of the Shiny Men or goes off on a tangent about the songs we hold within ourselves make him incredibly compelling to watch. The other guests include flirtatious guitar-playing cutie, Jeremy (Tripp Taylor), whose random spotlit musical asides feel plucked from a different show; abandoned wife, Molly (Maya Boyd); potential sex worker Mattie (Nimene Sierra Wureh); and finder of people, the wanderer Rutherford (Bradley Stryker).
So what of the Hollys themselves? Many will likely flock to this show for the two most recognizable names, but the fact of the matter is that neither of them truly carry the narrative. Bertha is sassy and fun, built off Henson’s natural charisma. On the flip side, Seth lets Cedric the Entertainer do what he does best: entertain. Seth is constantly constructing materials in his work shed, obsessing over kids wandering into his garden, and being convinced something is off about Herald. Seth’s stray observations got some of the biggest audience reactions. This duo remains obviously affected by what they witness, but neither Seth nor Bertha have concise arcs or significant character development. Still, Bertha and Seth tie the show neatly together.
The subplots can certainly be distracting, bringing us right out of the uncomfortable intensity of Boone’s performance. Yet, even without meaningful purpose for some of the characters, they each contribute to the overall flavor and vibes of August Wilson’s prose. Joe Turner works best when the disparate elements come together. A powerful act one climax utilizes most of the ensemble for a quick song-and-dance break before lightning strikes. The actual finale of the show ends in a satisfying crescendo that brings the Loomis saga to a shocking close.
Gripping and emotional, Joe Turner’s Come and Gone unspools over nearly two-and-a-half hours. In the Loomis family in particular, there’s a tangible element of spiritual rebirth, a promise that manages to shake a potentially tragic conclusion for a more hopeful one instead. Implications about the legacy of slavery and inherent dehumanization run deep. Finding one’s identity emerging from the horrors of an experience too awful to contemplate may be harder that it first appears. While I cannot claim to comprehend every single one of Wilson’s ideas, there’s no denying that this is thought-provoking, high budget theatre of the finest caliber.
Rejoice because Joe Turner’s Come and Gone! Catch this drama playing performances at Broadway’s Barrymore Theatre. For ticketing information, please head over to the official website.
