Theatre in the Park’s ‘N’ beautifully wrought

Plays about historical figures are tricky: sticking to the facts produces a living encyclopedia entry; veering from the facts brings accusations of misrepresentation. Theatre in the Park’s beautifully wrought premiere of Adrienne Earle Pender’s “N” is a thoughtfully considered piece about playwright Eugene O’Neill and African-American actor Charles S. Gilpin. But its straightforward biographical format cries out for more development of character and conflict.

Gilpin is a significant figure in African-American history. In 1920, O’Neill cast him as the star of “The Emperor Jones,” making Gilpin the first black actor to have a lead role on Broadway. Gilpin was highly lauded and the production was O’Neill’s first big hit.

The pair’s close bond was soon severely tested, however. Gilpin objected to the script’s repeated use of the N-word, which O’Neill defended as appropriate for the uneducated black man Gilpin was portraying. After Gilpin repeatedly changed the word in performance, O’Neill eventually fired him. Gilpin’s career stumbled after that and he descended into alcoholism, dying at age 52.

The one-hour one-act concentrates on interactions between O’Neill and Gilpin during the seven years from Gilpin’s first rehearsals of “The Emperor Jones” through their final fallout. Pender lays out the core conflict well but subsequent scenes are repetitive and reveal little that hasn’t already been established. The same is true for Gilpin’s scenes with his wife, each going over similar ground. Pender loads in a lot of information about O’Neill’s plays and Gilpin’s career (including lengthy readings of reviews) but the play would be more involving if Pender had created further dimensions of the characters’ struggles and contradictions.

Nevertheless, the cast makes the most of the material. Byron Jennings II expertly exhibits Gilpin’s determined defiance and unfiltered ego. Hazel S. Edmond fills Florence Gilpin with loving warmth and quiet will, especially in the show’s best scene in which Florence begs O’Neill to rehire her husband. Ira David Wood IV’s O’Neill is reserved and measured but reveals the character’s iron will when provoked.

Hope Alexander’s direction has crisp pace and vivid clarity, making full use of Thomas Mauney’s pleasing minimalist set, enhanced by his subtle lighting design.

Perhaps the production’s excellence will encourage Pender to expand this intriguing but underdeveloped work.

This story was originally published February 14, 2017 at 4:47 PM with the headline "Theatre in the Park’s ‘N’ beautifully wrought."