She writes of the rift between playwright Wilson and director Lloyd Richards. 'It was like a divorce, but perhaps an inevitable one. While it lasted, it was one of the key relationships in the American theater.'
Playwright August Wilson's "Gem of the Ocean" was at the Goodman Theatre in 2003.
For much of the 1980s and ‘90s, Wilson worked like a one-man vaudeville touring act: a man, a typewriter and one more play in his ambitious 10-play cycle of 20th century Black American life and poetic drama. Wilson developed and revised his plays across a far-flung network of nonprofit theaters, including Chicago’s Goodman Theatre. The goal was a commercial debut on Broadway; sometimes that worked out profitably , other times not quite or not even close . Money isn’t everything.
Q: Can you talk about the digging you did for the book’s prologue, which takes us back to Wilson’s mother’s family in Spear, North Carolina?: August always told people his mother was born on a mountain in Spear, and that was true. He never went there himself, and his mother and her siblings never went back, the same way my grandparents never went back to Ireland after they got out, after the civil war. I was interested in that.
Q: In your book, you write a lot about the key father/son relationship in Wilson’s life, though it’s a metaphoric one: his relationship with director Lloyd Richards, who gave him his start. Wilson’s plays, especially “Fences” and “Jitney,” are full of these harsh father/son depictions. It’s well documented that Richards’ work as director was crucial to the end result of Wilson’s early plays and biggest successes, as script editor and dramaturge. And Wilson grew to resent that relationship.
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