Review: August Wilson's "Gem of the Ocean" Shines at The Weekend Theater

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There’s Still Time to Journey to the City of Bones—GEM OF THE OCEAN Closes This Weekend

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To be honest, when I heard that August Wilson 's Gem of the Ocean at The Weekend Theater in Little Rock, which closes this weekend, was going to be two and a half hours long, I was a little concerned. That's a lot of time to ask an audience to invest in one evening of theatre without some jazz hands. However, once the storytelling began, that concern completely disappeared. The time flew by, and when it was over, I secretly wished it had lasted even longer. When a two-and-a-half-hour play leaves you wanting more, you know the storytellers have done their job.

And Director Kenneth Gaddie certainly knows how to tell a story.

Gaddie is a pro when it comes to great storytelling. He has built a show that grabs you from the beginning and honors not only August Wilson 's beautifully layered words, but also the history, pain, resilience and humanity woven throughout them. He gives his actors room to settle into the conversations, allowing the humor to breathe, the tension to build and the heavier moments to land.

Gem of the Ocean is part of Wilson's celebrated American Century Cycle, ten plays chronicling the African American experience throughout the 20th century. Set in Pittsburgh's Hill District in 1904, Gem of the Ocean is chronologically the first story in the cycle.

The Weekend Theater has taken on the ambitious task of presenting the play with two different casts, designated Cast A and Cast B. I attended a performance featuring Cast B : Michelle Young-Hobbs as Aunt Ester, Marseiko Jackson as Citizen Barlow, Kia Pennington as Black Mary Wilks, Rafiki Brown as Eli, Sa'teh Abdul as Caesar Wilks, Ralsurai Richardson as Solly Two Kings and Alan Malcolm as Rutherford Selig.

Most of the action takes place at 1839 Wylie Avenue, the home of Aunt Ester (Young-Hobbs), a 285-year-old spiritual healer whose home has become a sanctuary for those seeking guidance. Into that home comes Citizen Barlow (Jackson), a young man newly arrived in Pittsburgh who is carrying a secret and an overwhelming burden of guilt. Convinced Aunt Ester can help cleanse his soul, Citizen asks for her guidance, setting him on a spiritual journey that will eventually take him to the City of Bones.

Surrounding Aunt Ester are Black Mary (Pennington), her housekeeper and protégé, and Eli (Brown), her loyal protector. Frequent visitor Solly Two Kings (Richardson), a former Underground Railroad conductor, is still fighting for freedom in a country where emancipation has not brought equality. Rutherford Selig (Malcolm), a traveling peddler, sells wares and passes along community news.

Standing in sharp contrast to Aunt Ester's household is Black Mary's brother, Caesar Wilks (Abdul), the local constable. Caesar's uncompromising approach to law and order brings him into conflict with the community, particularly as unrest grows following a tragedy at the local mill. Citizen's search for redemption provides the heart of the story, but Wilson uses everyone who passes through 1839 Wylie Avenue to explore freedom, justice, responsibility and the difficulty of moving forward when the past is still present.

What I love about Wilson's writing is that these characters are never simply delivering a history lesson. They fuss, tease, disagree, tell stories, laugh and get angry. This cast embraced the importance of the story without allowing that responsibility to turn their characters into historical figures from a textbook. They made them human.

At the center of the production is Michelle Young-Hobbs' Aunt Ester, and I believed Young-Hobbs was indeed Aunt Ester. She completely embodied the wisdom and spiritual authority of this woman, especially in the way she delivered Wilson's words. There was a confidence and knowingness in her performance that made me understand why people would seek Aunt Ester out when their souls were troubled. When she spoke, I listened—and quite frankly, I would have gone to the City of Bones with her.

Marseiko Jackson made me feel for Citizen Barlow from the moment he came looking for Aunt Ester's help. Citizen truly bought into the belief that she could cleanse his soul, and Jackson played that desperation and hope with such vulnerability. Bless his heart, I was ready to give him a hug and tell him it was all going to be OK. As his guilt surfaces, Jackson shows us how desperately Citizen needs to believe redemption is possible.

I loved Kia Pennington's transformation as Black Mary. When we first meet her, she seems like the obedient housemaid, tending to Aunt Ester and doing what is expected of her. Pennington gradually lets us see Black Mary finding her own voice. By the time she begins standing up for herself—even when that means standing up to Aunt Ester—I was cheering for her. Pennington allows that confidence to grow naturally, making Black Mary's independence feel earned.

Rafiki Brown brings a grounded presence to Eli, and I loved how protective he is of Aunt Ester. Brown gives him a quiet strength that makes you believe he is always keeping an eye on what is happening around her and is ready to step in whenever necessary. He may not always be the loudest person in the room, but his loyalty is unmistakable.

Ralsurai Richardson was so enjoyable as Solly Two Kings. There was a wonderful spirit about him that immediately drew me in, and whenever Solly began telling one of his stories, Richardson commanded my attention. He gave Solly warmth, humor, strength and an undeniable presence. I enjoyed every time he entered Aunt Ester's home because the energy in the room shifted with him.

Then there is Sa'teh Abdul as Caesar Wilks, and I think Abdul may need to take on more bad-guy roles! I've enjoyed seeing Abdul in other productions, but this may be my favorite role so far. Caesar walks into a room with authority, and Abdul fully embraces his harder edges. He made Caesar someone I could get frustrated with, which made the performance even more fun to watch. When an actor I already enjoy can make me think, "Oh, I do not like you right now," they're doing something right.

Alan Malcolm surprised me as Rutherford Selig. As the only white character in this close-knit group, I was initially curious about where Selig fit into their world and what his relationship with the others would be. It quickly became clear that he isn't an outsider at all, and I loved how at ease he fit in with the rest of the cast. In fact, I especially loved when Rutherford jumped in to help with Solly and his trip. He genuinely cared about these people.

The ensemble connection is one of Cast B's greatest strengths. These actors listen to each other, and their reactions matter just as much as their dialogue. Gaddie establishes the feeling that these relationships existed long before we entered the theatre. Laughter, frustration, affection, anger, fear and determination flow naturally through Aunt Ester's home.

The intimacy of The Weekend Theater makes that connection even stronger. We aren't watching these characters and their history from a distance; it feels like we've been invited inside 1839 Wylie Avenue to sit with them and hear their stories.

Now, I don't which cast you will get this weekend, but I'm sure they will be just as intriguing as this group of storytellers. Honestly, I wish I could see the others as well. So, if you happen to catch the others, let me know.

August Wilson 's Gem of the Ocean continues at The Weekend Theater in Little Rock through Sunday, September 27 . Catch it before it closes this weekend.

Nominate your favorite local productions and performers before the deadline on October 31, 2026.

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_Originally reported by [BroadwayWorld](https://www.broadwayworld.com/little-rock/article/Review-AUGUST-WILSONS-GEM-OF-THE-OCEAN-at-The-Weekend-Theater-in-Little-Rock-20260923)._