Good Bones
If one builds structures that have “good bones,” i.e. solid foundations, the greater the likelihood these structures will last. The same might be said for relationships. In Good Bones, in its premiere at the Public Theater, Pulitzer Prize-winning playwright James Ijames applies the metaphor of a house renovation to a couple’s evolving relationship. As a contractor makes finishing touches, a couple learns to confront their wide differences in background and upbringing. Settling into the renovated home, they learn to rest in their relationship with a deeper understanding of each other, their values and their love.
Director Saheem Ali’s vision reveals a symbolic understanding of individuals’ relationships as they run parallel with their environments. Acutely shepherding his actors, Ali uses measured pacing to tease out the humorous moments in the play, especially with the character of Earl.
At the top of the play, the stage is covered with layers of plastic sheeting (scenic design by Maruti Evans). As the characterization and themes unfold, the contractor strips away the plastic layers revealing the completed, monochromatic kitchen renovation. Parallel with the finishing touches on the renovation, Aisha and Travis deepen their relationship as they attempt to iron out their differences. At the same time, Ijames explores the issue of gentrification destroying entire communities. Ultimately he asks to what extent does the displacement of people from their homes in a dangerous community create more havoc than benefit.
In Good Bones, a Return to an Old Neighborhood
Aisha (Susan Kelechi Watson) and Travis (Mamoudou Athie) have purchased a historic home in the neighborhood where Aisha grew up. Only those with money can renovate such townhouses. In the rest of the neighborhood people live in low-income and lower-middle-class housing that developers intend to pull down to put up a sports complex. As one of those who agree that the blighted area must be revitalized, Aisha, hired to promote the complex, pushes Travis to purchase in the neighborhood. Thus, their renovated home is meant to help transform a “slum” to an upscale community. Also, in her nearby location, she can stay on top of the project. But the issues that arise show that transformation comes with a hefty price.
The Good and Bad of Gentrification
In Good Bones the theme of gentrification and keeping communities whole strengthens throughout the play. Gradually, the contractor, Earl (Khris Davis), reinforces this theme. As he and former local Aisha discuss “the Heat,” the name given to the low-income housing, he attempts to persuade her against building the complex. First, he argues the importance of community, identity and connection. Unlike Aisha, who couldn’t get away fast enough, Earl refuses to leave. He believes in improving the area from the inside out. With humor, he challenges Aisha’s identity as a Black woman. Instead of helping, he says, she is turning her back on her people by supporting their dislocation.
Travis Dislikes the Neighborhood
As Travis and Aisha settle in, problems complicate when Aisha hears strange laughter. Earl tells her the history of the house and its haunting by previous owners, especially the kitchen he is renovating. Adding fuel to the fire, Travis expresses his dislike of the neighborhood. It’s for her sake that he has agreed to return and buy their home there – because of his love for his wife and to support her ambition,.
However, the move creates sub rosa undercurrents between them. These concern differences in their backgrounds. Finally, Aisha admits her jealousy of Travis’ upper-middle-class background and the unconditional love and support he received from her family. Aisha didn’t know her father, and her mother died of cancer “before her time.” And her remembrance of the neighborhood thrums with memories of violence and fear of walking the streets.
Despite the disagreements, Travis, pleased with the renovation, invites Earl and his sister Carmen (Tea Guarino), who helped paint, for a celebratory dinner. Carmen convinces a reluctant Earl to attend, stoking his interest in Travis’ menu of goat. A chef and restaurant owner, Travis expects his expert cooking to mend any rifts. Also, he believes his show of hospitality and warmth can encourage friendship.
Is the Haunting Only in Aisha’s Mind?
Throughout, Aisha experiences the ghostly sounds of laughter, doors opening and closing, and other happenings. Though Ijames never specifically grounds these hauntings in a particular place, event or person, we intimate Aisha’s issues from them. Perhaps the haunting reflects painful memories on returning to her old neighborhood. The reconciliation and forgiveness it takes for her to return creates stresses and strains. The play’s symbolism conveys many possible meanings.
The night of the dinner arrives. Anticipating a pleasant evening, Carmen and Aisha dress up, Travis plays the perfect host, and all enjoy themselves. The evening progresses pleasantly until discussion of an event that happened on a prior evening sets off Earl and the conversation segues to Earl’s advocacy for the community and his adamant rejection of Aisha’s sports complex. Once again Earl affirms that her pet project negatively impacts community connections and razes cultural identity and history.
As a result, with unsettled feelings Earl and Carmen leave. Subsequently, the suppressed issues between Travis and Aisha explode. Will the “good bones” of their relationship allow them to reconcile?
An Uncertain Conclusion
Has Earl penetrated Aisha’s understanding and will she do as Earl suggests and tell the truth at a community meeting? Or will Aisha, caught up in her own wish to escape her fear of the past, will push forward without restraint, seeing the neighborhood razed to the ground and families displaced?
The play takes a profound look at overdevelopment, apprising us of the losses caused by gentrification and destruction of community, history and connection. Finally, It leaves us with questions. How does one stop developers’ and politicians’ money and power from mowing down communities they dismiss as lacking value? What does it take to preserve and conserve our history? On the other hand, Aisha’s intention to end blight and violence makes sense. How do we “upscale” communities without destroying their cultural importance and historical relevance? Ijames’ play provides food for thought.
Kudos to the creative team who helped bring about director Saheem Ali’s vision. These include the superb ensemble, who with aplomb give the humor and irony nuance. Praise is also due to Maruti Evans’ superb scenic design, Oana Botez’s costume design, Barbara Samuel’s lighting design, Fan Zhang’s sound design and Krystal Balleza’s hair, makeup and wig design.
Good Bones runs one hour and 45 minutes at the Public Theater on Lafayette Street until October 27.
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