Characters
Cynthia
Cynthia is a 25-year-old social worker who is married to Sonny-man. She is a middle-class, educated African-American woman whose demeanor towards Tommy mirrors the arrogance and condescension shown by Bill and Sonnyman. Cynthia and Sonny-man encounter Tommy at a bar, recognizing her as the perfect embodiment of the struggling woman that Bill wants to paint. They bring Tommy to Bill's apartment without revealing their true intentions, allowing her to mistakenly believe she is going there for a romantic setup with Bill. Despite both being African-American women, Cynthia shows a lack of respect for Tommy by facilitating her exploitation by a man who treats her with disdain.
Once the men leave, Cynthia and Tommy engage in a conversation that reveals Cynthia's beliefs about how African-American women should conduct themselves in relationships with men. Cynthia tells Tommy that she is too rough and lacks femininity, advising her to let men take the lead in their relationships. She also criticizes Tommy for wearing a wig instead of embracing her natural hair. However, Tommy later explains that she wears a wig because women like Cynthia make her feel embarrassed about being her "natural" self. Cynthia also insists, "You have to let the black man have his manhood again," to which Tommy retorts, "I didn’t take it from him, how am I gonna give it back?" Cynthia embodies Childress’s perspective on the attitudes of some educated, middle-class African-American women toward those who are less privileged and less educated.
Bill Jameson
Bill Jameson is a 33-year-old artist living in an apartment in Harlem. He is creating a "triptych," a series of three paintings, to express his "statement" on "black womanhood." The paintings include "Black girlhood," symbolizing innocence and sweetness; "Wine in the Wilderness," his vision of an idealized "African queen"; and a third, yet-to-be-painted image reflecting his view of "what society has done to our women." For this final piece, Bill envisions a downtrodden African-American woman who is "ignorant, unfeminine, coarse, rude...vulgar...a poor, dumb chick that's had her behind kicked until it's numb," a portrayal of someone for whom "there's no hope."
Bill has been searching for a woman to model for his painting. During a race riot in Harlem, his friends bring a woman to his apartment whom they believe perfectly fits the image he envisions. Bill immediately sees in Tommy the "hopeless chick" he had imagined. He persuades her to let him paint her by making her think he is romantically interested in her. However, the next morning, Tommy realizes Bill's true intentions and becomes furious. She understands that Bill looks down on her due to her lack of education and privilege compared to him. She accuses him of patronizing the "masses" of the African-American community, even though he claims his art represents them. Initially defensive, Bill is deeply moved when Tommy admits she loves him. This revelation prompts him to reconsider his approach to art and his perspective on African-American womanhood. He acknowledges that he has been misguided, "painting in the dark, all head and no heart." Bill finally sees that Tommy embodies his ideal vision of the African-American woman, his "Wine in the Wilderness." He convinces her to stay and model for a painting that captures her in this new light.
Tommorrow Marie
See Tommy
Edmond Lorenzo Matthews
See Oldtimer
Oldtimer
Oldtimer, in his sixties, is portrayed as "an old roustabout character." He appears to be an alcoholic with little money, often relying on his neighbors for support, yet he remains friendly with them. Amidst the riot, Oldtimer enters Bill's apartment carrying a bundle of items he claims to have found...
(This entire section contains 1378 words.)
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on the street after being dropped by rioters. His stash includes a bottle of whiskey, some salami, and a new suit. He is nervous because the police are searching the building, and he fears being arrested for theft. Although hesitant, Bill helps him hide the bundle, and they share the whiskey. Oldtimer is a warmhearted, good-natured man who is evidently far less educated than Bill. As they drink, Bill explains his series of paintings to Oldtimer.
When Tommy is introduced to Oldtimer in the apartment, she surprises everyone by asking for his real name. This prompts Bill, Cynthia, and Sonnyman to realize they don't actually know their friend's name. Oldtimer reveals his name is Edmond Lorenzo Matthews. The fact that they never knew his name, despite knowing him for quite some time, highlights the disrespect these middle-class, educated individuals have for an elder. Later, Tommy criticizes them for not showing him more respect. Oldtimer immediately takes a liking to Tommy and feels flattered when she flirts with him. The following day, Oldtimer visits the apartment and, without considering his words, tells Tommy that Bill intends to paint her as an image of "the worst gal in town." He instantly regrets saying it, but Tommy appreciates learning the truth about Bill's view of her.
By the play’s conclusion, Tommy helps Bill develop a greater respect for Oldtimer as a representative of a different generation of African-American men who had limited opportunities for education or financial advancement. Bill acknowledges, "Now there's Oldtimer, the guy who was here before there were scholarships and grants and stuff like that, the guy they kept outta the schools, the man the factories wouldn’t hire, the union wouldn’t let him join."
Sonny-man
Sonny-man is a twenty-seven-year-old writer married to Cynthia. He wears a dashiki, an African-style shirt popular in the 1960s and 1970s, symbolizing a celebration of African heritage. During a riot, he and Cynthia meet Tommy at a bar and recognize her as the embodiment of the down-and-out woman Bill envisions for his third painting. They bring Tommy to Bill’s apartment without revealing Bill's intentions.
Similar to Cynthia and Bill, Sonny-man embodies the arrogance and condescension some middle-class, educated individuals exhibit toward those less privileged. Like Bill, Sonny-man views himself as a creative force working for the benefit of the African-American community as a whole; he plans to "write the revolution into a novel nine hundred pages long." However, his attitude toward Tommy and Oldtimer exposes the fact that he looks down on the "masses" of the African-American community.
Tommy
Tommy is a thirty-year-old woman employed at a dress factory. She resides in an apartment situated above a store that was destroyed during the riot. Currently, she is unable to return to her apartment and has lost most of her clothing and savings. Cynthia and Sonny-man encounter her in a bar amidst the chaos and bring her to Bill’s apartment, believing she embodies the type of woman Bill wishes to paint for the third segment of his "triptych." Unaware of their true intentions, Tommy assumes they are trying to match her with Bill romantically. She takes an immediate liking to Bill and continues to believe he is interested in her romantically. Though Tommy is very perceptive, articulate, and humorous, she lacks the level of education Bill and his friends possess. She eventually consents to pose for Bill’s painting if he provides her with a meal. While eating, she accidentally spills soda on herself, prompting Bill to offer her an African throw-cloth to wear as an impromptu dress. While changing, she overhears Bill on a phone call with an art dealer discussing his "Mother Africa" painting. Misunderstanding, Tommy believes he is complimenting her beauty. When Bill sees Tommy wearing the African wrap without her wig, he is captivated by her beauty, and they share a kiss.
The following morning, Tommy is cheerfully making coffee as Bill takes a bath. Oldtimer enters and reveals to Tommy that Bill plans to depict her as "the worst chick in town" in his painting. Feeling hurt and angry, Tommy confronts Bill and his friends (excluding Oldtimer) for looking down on her and the broader African-American community, who may not share their level of education or privilege. Through her anger, Tommy gains a newfound appreciation for herself, despite their condescending views. In a moment of vulnerability, she admits her love for Bill, which prompts him to recognize the validity of her criticisms. He realizes Tommy truly embodies his vision of the ideal African-American woman, his "Wine in the Wilderness." He persuades Tommy to stay and pose for his new painting.
