"On the Grounds of Belonging" by Ricardo Perez Gonzalez (Long Wharf Theater)

"On the Grounds of Belonging" by Ricardo Perez Gonzalez
Theater: Long Wharf Theatre
Director: David Medizabal

On the Ground of Belonging sheds light on a type of forbidden love that might not otherwise be considered if not for beautiful and heart-wrenching stories such as this one. David Medizabal's sensitive and meticulous direction of this unusual star-crossed love story left me with very little to criticize. Instead, I left this show, written by Ricardo Perez Gonzalez, with a reminder of the power that theater has to both inform and entertain. Long Wharf Theatre in New Haven selected this show to open their 2019-2020 season, while also gifting this play with its world premiere. Advertised as a “breathtaking new story of forbidden love in 1950s Jim Crow Texas,” topics of homosexuality, biracial love and the core of humanity are all presented tastefully and with a great deal of heart.

During a time when segregation is permeating throughout society, tension is already naturally high. Gonzalez raises the stakes even further during Jim Crow-era Houston by focusing on the illegal gay bar scene. The story is set in motion on an evening in the Gold Room, a black-only gay bar, when a man dressed as a woman, Tom, walks in. Tom is coming to escape from a raid happening at the Red Room, a white-only gay bar, where cops are notoriously violent to the men that dress up as women. That night, Tom meets Russell, a black gay man who frequents the Gold Room. The following day, Tom visits the Gold Room again to see Russell, and their genuine, passionate and heartbreaking love story ensues.

Gonzalez has delivered an incredibly moving script that features well-defined and relatable characters. The characters were all painted in a specific light telling a purposeful story which included themes still prevalent in today’s society. On the Grounds of Belonging includes beautiful verbiage that is direct, sensitive and powerful. One of my favorite quotes from the show was when Russell expressed his feelings for Tom, proclaiming that “love notices, love looks back.” No matter the color of one’s skin, their gender, or the dramatic circumstance this specific couple faces, they have a strong and deep love for each other.

In this performance, the acting of all characters was truly superb. Calleri Casting expertly filled the dynamic roles with actors who could handle the task and carry the story. Two actors particularly impressive and imperative to the show were the two lovers, played by Jeremiah Clapp as Tom, and Calvin Leon Smith as Russell. Tom was well presented as the hopeless romantic, unfazed by the lethal threats following his pursuit of love for Russell. Clapp’s performance was extremely believable, compassionate and full of intent. Smith captured Russell’s control, intelligence, and realization of his self-worth. With direction from Intimacy and Fight Director company, UnkleDave's Fight-House, Tom and Russell displayed a beautiful chemistry which felt undeniable.

 

Craig Bockhorn brought forth a notable performance as Mooney, the redneck racist bar owner who is like a dark cloud hovering over everyone. He dampens their ambitions and positivity. Mooney symbolizes the threat present in this play; how to balance a person’s desires in relation to society’s restrictive and prejudiced standards.

Tanya, played by Tracey Conyer Lee, was the only female in the show. As The Gold Room’s glamorous bar singer, she was expressive and gave a strong singing performance. Henry, portrayed by Blake Morris, is the justifiably jealous ex-lover of Russell. Henry's jealousy ends up leading to the climax of the show. The performance by Morris was rather humorous. Although his character was rowdy and inappropriate at times, I found myself wanting the best for him. The Gold Room’s manager, Hugh, played by Thomas Silcott, is the steady and understanding bar owner who will do anything to protect the people he loves. Both Tanya and Hugh resembled parental figures to Russell and Henry in the way they spoke about past experiences of injustice and how they tried to guide them.

             Set designer Wilson Chin's detailed display of The Gold Room allowed audiences to see both the interior and exterior. Chin's woodsy setting, positioned above The Gold Room, effectively captured a park at night. The lighting design, by Cha See, felt natural and appropriate, especially during the moonlit park scenes. 

When I walked into the theater, ushers were inviting audience members to roam around the set and check out the Gold Room up-close. I found that invitation to be extremely charming, letting audiences feel as if they were part of the discussion, and that their interpretations mattered. Although this was a small touch, I feel as if it is worth mentioning. 

All in all, this production was beautifully and professionally executed. This was a timeless piece that highlighted a difficult time in American History, with remnants still echoing today. Although On the Grounds of Belonging took its final bow at Long Wharf on November 3^rd, I am both hopeful and confident that this isn’t the last we are going to hear about this show.

Photo Credit: T. Charles Erickson.