History is anything but black and white in “Gospel”
Victory Gardens Theater presents |
The Gospel According to James |
Written by Charles Smith Directed by Chuck Smith at Victory Gardens Biograph Theater, 2433 N. Lincoln (map) through June 12 | tickets: $35-$50 | more info |
Reviewed by Keith Ecker
On Aug. 7, 1930, Thomas Shipp and Abram Smith were lynched in the town of Marion, Indiana. The two African-American men allegedly murdered a white local factory worker and raped his white girlfriend. Instead of allowing the justice system to weigh whether the men were truly guilty, the townspeople took the law into their own hands and tore down the jailhouse doors. Beaten and bloody, the bodies of both men were strung up on an tree. Studio photographer Lawrence Beitler managed to immortalize the horrific event, snapping a picture of the bodies swinging from the tree as a crowd of joyful onlookers stand below. Today, that picture serves as a powerful and grizzly reminder of the consequences of racial intolerance.
No one knows precisely what events transpired that led to the charges against Thomas and Abram. James Cameron, a third black man initially identified as an accomplice to the crime, was spared from death at the hands of the mob. He would later state in interviews that he fled the seen before the murder took place. Marie Ball, the woman who was allegedly raped, would later testify that she was, in fact, never raped.
This ambiguity makes the case of Thomas and Abram ripe for speculation. And so playwright Charles Smith has embarked on crafting a script that dramatizes what may have transpired throughout those days leading up to the lynching. What results is an intriguing work of historical fiction that wisely steers away from tired cliché and instead focuses on the inherent flaws of memory.
The play is about an imagined meeting between James Cameron (portrayed by André De Shields and Anthony Peeples) and Marie Ball (portrayed by Linda Kimbrough and Kelsey Brennan). Fate has brought them back to Marion. In the passing years, Cameron has taken it upon himself to be the vocal historian of that tragic night. His account parallels that of the real-life history of the event: Abram (Tyler Jacob Rollinson) and Thomas (Wardell Julius Clark) held up former foundry worker Claude (Zach Kenney), and before the murder occurred, Cameron fled the scene.
But Marie does not remember it this way. She resents Cameron for spreading lies and threatens to reveal her version of the truth to the public. As Marie recounts her recollection of the events that led to that ugly night, we see her memories take dramatic form. According to her, Claude was hardly an innocent victim. James was more involved than he claims to be. And she and Thomas were much more than mere acquaintances. But despite her compelling account, Marie’s cognizance is called into question, and we are forced to wonder whose story, if anyone’s, is the real deal.
The cast is captivating. Shields is energetic and expressive as the aged James, while Kimbrough serves as an effective forlorn foil. Meanwhile, the scenes between Marie’s parents (portrayed by Diane Kondrat and Christopher Jon Martin) are powerful, while Kenney is a believable slime ball. There is real chemistry between Rollinson and Brennan, which makes Abram’s lynching that much more heartbreaking. Peeples is the only odd man out here. His portrayal of the youthful version of James is cartoonishly juvenile. He speaks in a childlike tone and talks like an imbecile. This is a complete disconnect from the adult James, who is well spoken and refined.
Smith is a smart playwright. He could have used the Marion lynching as a platform to soapbox about the ills of racism, a trite topic that always falls on agreeable ears. Instead, he focuses on memory and the subjectiveness of history. This is a much more interesting subject to parse, and he does a good job of portraying it dramatically. However, there are a few bumps in the script, particularly when the dialogue veers too far into poetry, creating a sense of melodrama.
Victory Gardens’ production of The Gospel According to James is an engaging fictional account of a historical event. Despite its minor flaws, the solid acting and a strong script prevail, making it a thoroughly entertaining watch.
Rating: ★★★½ |
Ticket Prices: $35-$50, Students with I.D.- $20, and can be purchased by phone 773.871.3000 or via e-mail (tickets@victorygardens.org). Performance Times: Tues-Saturday: 7:30pm, Saturday Matinee: 4pm, Sunday Matinee: 3pm, Wednesday Matinee: 2pm. Recommended Age: 16 & up
Filed under: 2011 Reviews, Biograph Theatre, Keith Ecker, Victory Gardens | Tagged: Andre De Shields, Anthony Peeples, Charles Smith, Christopher Jon Martin, Chuck Smith, Diane Kondrat, Kathy Perkins, Keith Ecker, Kelsey Brennan, Lawrence Beitler, Linda Buchanan, Linda Kimbrough, Liz Lauren, Rachel Healy, Ray Nardelli, Tina Jach, Tyler Jacob Rollinson, Victory Gardens Biograph Theater, Victory Gardens Chicago, Wardell Julius Clark, Zach Kenney | Leave a comment »