While on the surface an intellectual play about the precise display of art, Thomas Gibbon's play Permanent Collection is truly a profound commentary on the fragility of modern day race relations.
The play unfolds as Sterling North (Terry Alexander), an African-American businessman, is appointed head of the Morris Foundation. Although fictional in the story, the Morris Foundation represents the Barnes Foundation of downtown Philadelphia, an unbelievably extensive collection of Impressionist and post-Impressionist art which includes over 150 Renoirs and over 50 Cezannes and Matisses.
The fictional Mr. Morris, who is based on Mr. Barnes, was a determined, obstinate man who was quick to make enemies with those who challenged his opinion. In addition to his extensive personal collection of Impressionist paintings, Morris possessed numerous pieces of African art, ancient Egyptian sculpture and antique American furnishings. Despite his intellectual pursuits, Morris never wanted his collection to be a museum. Instead, he wished it to be a school where anyone who expressed an honest interest in learning about the art and its influence on life could enjoy it.
When North becomes Director, he finds himself among loyal colleagues, many of whom have spent twenty years working at the Morris Foundation. One of these colleagues, Paul Burrow (Thomas M. Hammond), is a true devotee to Morris. He harps on any opportunity to explain to an observer the "vision" that Morris created by his placement of paintings in the gallery. He insists that the very organization of the gallery is a study in juxtaposition; asserting that the contrast of the Cezanne and Picasso are a roadmap on painting itself. Because he is so adamant in his devotion to the gallery, Burrow is extremely defensive when he learns that North wishes to make changes, namely the addition of eight pieces of African art into the main museum.
After some observation, North discovers that the gate of the museum is modeled after early African art. Believing this to be a clue that the centrality of African art was meant to be a lens through which to view the gallery, North is already sensitive to the under-representation of African art in the museum. He argues that there are only twenty eight pieces of African Art on display in the museum whereas there are over 220 pieces of art by white Impressionist artists. Thus, when Burrow challenges his inclusion of a mere eight pieces of work, he immediately classifies him as a racist. He insinuates this thought to local news reporter Gillian Crane (Christina Rouer), after which the play erupts in an argumentative racial discourse.
Though they have much dialogue between them, neither North nor Burrow truly listens to what the other is saying. This leads to an ugly entanglement of personal and professional vengeance, during which Burrow loses his job at the Foundation and sues North for libel. Because he has lost all that he previously cared about, Burrow becomes a man possessed. Whereas North struggles to convince Burrow that his distaste for African art is exclusionary, Burrow insists that his desire to leave the gallery untouched is his desire to uphold Mr. Morris' artistic vision.
The play reaches a startling climax while North and Burrow are arguing and Burrow blurts out that the white Impressionist pictures are better than the African art pieces. North implores Burrow to "step outside" himself and see that he is judging the art based on his own prejudices and not on its cultural importance. Similarly, Burrow asks North to "step outside himself" and recognize his contradictory; the fact that he is drives a Jaguar, a symbol of rich white opulence. The heated dialogue exchanged between North and Burrow is the most exciting and intriguing, as North asserts that all the rich white kids in the suburbs are talking like his own African-American son.
Although their dialogue raises some very interesting points, neither North nor Burrow attempt to reach a compromise. Their insistence on the portrayal of art becomes interlocked with their own integrity and cultural resonance. Ironically, they both lose the power they once held in the Foundation and instead of receiving a direct answer about the solution to the race issue, the audience is encouraged to "let the art speak for itself."
The play falters in its depiction of two grown men, who appear too preoccupied with their quick-tempered reactions to seek any real resolution. Although the play is thought-provoking, it interjects platitudes such as "let the art speak for itself" where there should be a direct response to the racial conflict. Even though the actors deliver logical arguments, the disastrous results of their racial issue is unconvincing. It seems unlikely that two professional men, who are supposedly interested in the art above everything else, would allow their racial differences to destroy their professional lives. Moreover, the race issue dissolves unanswered as both men become disassociated with the Foundation.
Permanent Collection is being showed at Centerstage through April 10.
