It’s risky to program a solo show on the main stage of any
theatre, but “Thurgood,” which runs through November 18, is a calculated risk
for Geva Theatre Center. It comes at a time of unrest
in the country, amid discussions of race, the Supreme Court, and voting (the
show runs through midterms — a strategy, perhaps). Not to mention “Thurgood”
is, at its core, a story of the American Dream.
The one-man
show was conceived and written by George Stevens, Jr., founder of the American
Film Institute and the producer of the Kennedy Center Honors, among other
projects. “Thurgood” premiered in 2006 at the Westport Country Playhouse in
Connecticut and starred James Earl Jones; when it opened Broadway two years
later, Laurence Fishburne assumed the role.
The plot is
essentially a chronological biography, recounted in first person, of Thurgood
Marshall. It’s an account of his life from his days as a child in Baltimore (“just
north of the Smith & Wesson line,” as he recalls), where he was a
descendant of slaves; to his college years at Lincoln University, where he
befriended author Langston Hughes. It was Hughes who influenced Marshall to
join the debate team and become an activist, eventually resulting in his
admission to Howard University School of Law. The second act of the show mainly
focuses on Marshall’s relocation to Washington, D.C. and his tenure as the
first black man appointed to the Supreme Court (he was also founder of the
NAACP Legal Defense and Educational Fund, and worked in New York for many
years).
When Lester Purry (Thurgood) steps onstage, he commands attention
immediately, breaking the fourth wall by addressing the audience with his
booming voice. For the next two hours (including a 20-minute intermission), Purry is a theatrical force, bringing Thurgood Marshall to
life through expert physicality, an impressively dense amount of memorized
material, and a true commitment to the portrayal of an icon of American
history.
Director Lou
Bellamy has worked with Purry before, and the
semblance of a strong artistic relationship is clear here. Bellamy is the
founder and artistic director emeritus of Penumbra Theatre in St. Paul, which
produced August Wilson’s first professional production, and has produced
Wilson’s plays more than any other theatre in the world. Purry
has contracted with Bellamy throughout several decades at Penumbra. In
“Thurgood,” the two have built a powerful ebb and flow, playing on the visual
language to create a character that feels like both an inspiring college
professor and the most interesting family member at Thanksgiving.
Set design
by Vicki Smith is simple upon first glance — a floor-to-ceiling Constitution
backdrop and judge’s chamber with conference table, chairs, lectern, and
coatrack. But the backdrop quickly transforms to a screen, where Rasean Davonte Johnson’s projection designs are featured,
including historical film, photo stills, and a rainy night. Sound design by
Justin Ellington plays an important role as well, as it is the only other
auditory element aside from Purry’s voice. Weather,
music, old radio announcements, and recorded court cases all add depth to the
production.
“Thurgood”
is a show best enjoyed while alert (throw back an espresso beforehand), as it
covers an entire life of events, is slow moving at times and contains weighty
subject material. But it’s also filled with lighthearted moments — Marshall was
known for his fun-loving, sometimes irreverent nature — and pointed, necessary
comments on race in America, ideal for a post-show discussion with fellow show
attendees.
This article appears in Oct 24-30, 2018.
