Gem's Rocky Road

About the author:
Ruben Santiago-Hudson, the performer/writer currently tearing up the boards as the unsavory Caesar in August Wilson's Gem of the Ocean, is no stranger to the glories of performing in a Wilson oeuvre. He received Tony, Outer Critics, Drama League and Clarence Derwent awards for his work in Wilson's Seven Guitars. Santiago-Hudson garnered an Obie, Helen Hayes and Audelco awards for his autobiographical Lackawanna Blues, in which he also performed. The piece will soon be seen as an HBO original movie directed by George C. Wolfe from a screenplay written by Santiago-Hudson. Here. the talented actor recounts Gem of the Ocean's hard road to Broadway.

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"I'm writing a new play called Gem of the Ocean, and I got something in it for you." When those words come from the mouth of August Wilson, arguably our greatest living American playwright, they tend to make an actor giddy with anticipation. So there I sat in Seattle across from August Wilson in his breakfast spot eyes wide with excitement as August hit riff after riff from Gem, my heart pounding with excitement. That was my introduction to the arduous journey that would indeed reveal a Gem.

Unable to be in the first two productions of Gem because of scheduling conflicts I finally joined the company in Boston at the Huntington Theatre. Looking around and seeing Phylicia Rashad, Delroy Lindo, Anthony Chisholm, LisaGay Hamilton, John Earl Jelks and Raynor Scheine is any actor's dream. To put the splendidly poetic and profound words of August Wilson in your mouth and wrap your heart around the arias that he writes for his characters is simply bliss! Knowing that this production would soon land in New York, and that I would be home performing in front of the greatest theater audience in the world was icing on the cake.

In the middle of that beautiful dream reality struck when our director Marion McClinton took ill and was unable to continue. The cast gathered together in a prayer circle for our director as well as for this very important mission we had before us. We were pleasantly surprised to learn that Kenny Leon would arrive the next day and assume the directorial responsibilities. We straightened our spines, lifted our chins, embraced our new director and went back into the fray. Tech rehearsal was coming up, and we had work to do as August, true to his style, was continually honing and tightening the play. The day before tech was to begin Gem was hit with another blow. Our brother and colleague Mr. Lindo called each of us to inform us personally that he wasn't going to continue with the production due to artistic differences. I searched my soul wondering was this Gem even meant to have a Broadway berth.

Informed that the wonderful actor Eugene Lee would come into the production and that Anthony Chisholm would once again resume the role that he originated, things began to make sense again.

On September 29, 2004, Gem of the Ocean opened at the Huntington Theatre. The notices were wonderful the cast was ecstatic and we were finally on our way.

The week prior to our highly anticipated arrival on the Great White Way we were all called together once again in the green room of the Huntington Theatre and were told that a major investor had abandoned us and once again we were faced with a dilemma. It was devastating. Who would think that a playwright of this magnitude, taking on a challenge of epic proportion--a canon of plays not only important to the theater world but also to the world of American history--could be derailed like this?

Emotionally drained, disappointed and somewhat amazed, I had to step back and laugh to myself and shake my head like my mom did when words just didn't seem appropriate. But underneath it all, I was inspired by the incredible company of artists who were all determined to relentlessly pursue our rightful place in the Big Apple With the blessing of the Jujamcyn Group, Kenny and August, we came into New York eagerly awaiting some positive response. I walked by the theater and looked at the crates that contained our set, lights and props. I gazed up at the marquee of the previous show, still in place long after its lights has dimmed. I also noticed something wonderful, that people were walking up buying tickets and inquiring about Gem. One woman turned and noticed me, and a smile spread across her face. "I got my tickets for December 5; you all better come on now!" I laughed, "Yes ma'am, we'll be there."

Two weeks passed when the call came, an angel by the name of Carol Shorenstein Hays was on board along with August Wilson and the Jujamcyn Group we were indeed going to be there. The set went in, the marquee went up and rehearsal began immediately!

Opening night the cast huddled together just offstage, held hands and bowed our heads in prayer. We then took the stage with unbridled passion. The tremendous ovation was so satisfying! With the first return ovation the audience seemed to say, "We are so glad you made it home." The second return ovation was proof that somebody bigger than you and I would always have the final say. Aunt Ester says it best in Gem of the Ocean: "The judgment with God. He the big master. He don't never lie."