Charles Gordone 1925-1995
Gordone is best known for his 1969 play, No Place to Be Somebody, the first drama by an African American writer to win a Pulitzer prize and the first play ever to win the prize before being produced on Broadway. Critics have praised the work for its characterization and dialogue as well as its depiction of the rage, despair, and dignity that comprise the human condition for both blacks and whites. In an interview Gordone identified the "American experience" as the source of his works. "I don't write out of a black experience or a white experience; it's American. If my color happens to be different from someone else's, that doesn't make any difference. I write for whites just as well as I write for blacks. I write out of the American experience as I observe it and as I live it, and I would not like to chop it up."
Gordone was born in Cleveland, Ohio, and raised in Elkhart, Indiana. He once described himself as a mixture of races, "part Indian, part French, part Irish, and part nigger." He recounted that his family was considered black but lived in a white area. Despite academic and athletic success in high school, he stated, upon graduation he was "run outa town, not by white people, but by my own people, black people, because I tried to date a black girl." He studied at UCLA for one semester before completing a tour of duty in the U.S. air force. He then studied music at Los Angeles City College and eventually pursued drama at Los Angeles State College, from which he earned a bachelor's degree in 1952. After college Gordone went to New York City to pursue an acting career. He obtained roles in numerous plays on and off Broadway, winning an Obie award for his performance in an all-black production of John Steinbeck's Of Mice and Men. During the 1950s Gordone founded his own theater, Vantage, in Queens. There and elsewhere he continued to direct and produce, as well as write, plays throughout his life. Gordone died in 1995.
No Place to Be Somebody is Gordone's most acclaimed work. It was composed over a seven-year period, during which it was rewritten six times. It opened in May 1969 at Joe Papp's New York Shakespeare Festival Public Theater and later returned for an unlimited engagement. In December 1969 it moved to the American National Theatre and Academy (ANTA) and then to the Promenade the following month. In total, the play received 903 New York performances, followed by regional tours. In addition to the Pulitzer Prize, it received the 1970 New York Drama Critics Circle Award and the Vernon Rice Award. No Place to Be Somebody is set in New York City and centers on Johnny Williams, a bar owner and small-time crook who is embittered by the treatment blacks have received from whites and who dreams of organizing a black mafia. Several sub-plots involve such characters as Sweets Crane, an old gangster who is reduced to picking pockets after his release from prison; the black militant Machine Dog, and the talentless drummer Shanty Mulligan. Each of the play's three acts opens with a monologue by Gabe Gabriel, an unemployed light-skinned actor. Johnny's overwhelming hatred of whites precipitates the play's catastrophe, a shoot-out that results in several deaths, including Johnny's own.
Critical reaction to No Place to Be Somebody was overwhelmingly favorable. Walter Kerr hailed Gordone as "the most astonishing new American playwright to come along since Edward Albee," and others compared him to Eugene O'Neill. Reviewers praised Gordone's evocation of compassion, excitement, and what Edith Oliver described as "the sense of life and intimacy of people in a place." Critics—along with Gordone himself—also noted the play's relation to the traditions of Greek, Elizabethan, and Jacobean drama. Despite the generally favorable notices, some critics observed that the play has some flaws. Ross Wetzsteon declared the work a "huge, sprawling, shapeless mess of a play, slopped all over the stage with appalling carelessness." He conceded, however, that Gordone's energy "virtually grabs the audience by the throat, lifts it into the air, and slams it against the wall." John Simon found No Place to Be Somebody a "typical protest play" and faulted the plot, characterization and dialogue: "[Gordone] has tried to cram at least three plays into one; his characters, especially the white ones, tend to be shmata if not automata; his dialogue, though sometimes juicy, often deteriorates downward into banality or upward into grandiloquence." In Catherine Hughes's view, however, the play's strengths more than make up for its shortcomings. "No Place to Be Somebody vibrates with a kind of vitality all too seldom found on contemporary stages," she wrote. "It may sprawl; it may on occasion become self-indulgent or sentimental; it never bores. It is alive."
A Little More Light Around the Place [adaptator, with Sidney Easton; from Easton's novel of the same name] 1964
No Place to Be Somebody: A Black-Black Comedy 1967
Willy Bignigga 1970
Gordone Is a Muthah 1970
The Last Chord 1977
A Qualification for Anabiosis 1978; revised as Anabiosis, 1979
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Yes, I Am a Black Playwright, But … (1970)
SOURCE: "Yes, I Am a Black Playwright, But …" by Charles Gordone, in The New York Times, 25 January 1970, pp. D1, 11.
[In the following essay, Gordone examines the phenomenon of the "black theater" and his place in it.]
At the time I moved into acting seriously, here in New York, there were damned few jobs in this profession for anybody, black or white. I turned to writing out of expediency. I love the theater and I had to do something to stay in it. Like I had reached a point of no return. You know what I mean? My main reason for going into writing was creative desperation. In my opinion, there was absolutely nothing being written that I considered to be saying anything for myself or for other persons "of color."
Aside from the fact that I am a performer, I think it is much more creative to try to DO something for the theater—as it is with anything else in life. For a long time, critics of the American theater have considered it a mighty sick "invalid," or just plain dead. One of the main reasons they say it is "dead" is that there just aren't any writers of substance.
There are those who say that "black playwrights" are giving the theater a needle. Well, now, I am considered to be a "black playwright" and of course I did call No Place to Be Somebody a "black-black comedy."...
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No Place To Be Somebody
Clive Barnes (review date 5 May 1969)
SOURCE: A Review of No Place to Be Somebody, in The New York Times, 5 May 1969, p. 53.
[No Place to Be Somebody was written in 1967 and received several workshop performances before it debuted on 4 May 1969 in a production by the New York Shakespeare Festival at their Public Theater. In the following assessment of that production, Barnes expresses reservations about the play's construction but greatly admires the vivid dialogue and realistic acting and sets.]
The New York Shakespeare Festival Public Theater is more than just a complex name—it is a complex complex. Apart from Shakespeare in the Park and all that, a new theater in preparation in the Lafayette Street home, where, of course, the Florence Anspacher Theater is situated, there is also the Other Stage.
This, at the bottom of the Lafayette Street building, is the experimental wing of the Shakespeare Festival, and, with the help of a grant from the Rockefeller Foundation, it tries out new plays on weekends. The Other Stage has now discovered No Place to Be Somebody, a play by the black playwright Charles Gordone and the first to move from workshop status to a regular run as part of the Public Theater's programing.
Rather too long and certainly too episodic for its own good, I found...
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Barnes, Clive. Review of No Place to Be Somebody. The New York Times (10 September 1970).
Assessment of a revival of No Place to Be Somebody on Broadway. Barnes argues that Gordone's revisions of the play make it "far clearer and stronger."
Gill, Brendan. Review of No Place to Be Somebody. New Yorker 45 (10 January 1970): 64-5.
Maintains that "it is a proof of Mr. Gordone's immense talent that the excrementitious gutterances of his large cast of whores, gangsters, jailbirds, and beat-up drifters stamp themselves on the memory as beautiful."
Garland, Phyl. "The Prize Winners." Ebony 25, No. 9 (July 1970): 29-37.
Describes No Place to Be Somebody as "a jarring journey in action and words through a nether world of pimps, prostitutes, hustlers, and hoods." Includes several production photos.
Gordone, Charles. "A Quiet Talk with Myself." Esquire 73 (January 1970): 79-81, 174.
A mock interview with himself in which Gordone comments on the social and political events of the 1960s.
Gussow, Mel. Review of The Last Chord. The New York Times (17 May 1976).
Asserts that The Last Chord is "ill-conceived and unfocused," but admits that it contains "frequent bolts of Mr. Gordone's tremendously theatrical talent."
Kerr, Walter. "Not...
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