Charles Gordone: Finding His Place to Be Somebody

Charles Gordone
Charles Gordone, accessed Blackpast.org.

The unified efforts of the Civil Rights Movement began to fracture when in 1966 a new strategy and ideology emerged, known as the Black Power Movement.  This new movement also influenced the development of the Black Arts Movement.  According to historian Ann Chambers, the Black Arts Movement did not speak for the entire black community; however, the movement gave a “new sense of racial pride to many young African-American artists.” One African-American writer and actor who opposed the Black Arts Movement was Pulitzer Prize winning playwright, Charles Gordone.

Gordone was born Charles Fleming in Cleveland, Ohio, on October 12, 1925.  In 1927, his mother moved with her children to Elkhart, Indiana.  By 1931, she married, changing Charles Fleming’s name to Charles Gordon.  He attended Elkhart High School and, although popular at school, faced racial discrimination while living in Indiana because of the divide between white and African-American children.  According to Gordon, both races rejected him.  White children avoided him because he was black, and the town’s African-American community shunned him because his family “lived on the other side of the tracks and . . . thought we [the Gordons] were trying to be white.”

After serving in the US Army Air Corps, he enrolled in Los Angeles City College, and graduated in 1952. Gordon stated that he majored in performing arts because “I couldn’t keep myself away from the drama department.”  His experiences in college influenced his outlook on race in America.  Gordon stated “I was always cast in subservient or stereotypical roles,” and he began wondering why he was not given prominent parts in Shakespeare, Ibsen, Strindberg, Pirandello plays. After graduation, Gordon moved to New York City. Once on the east-coast, Charles Gordon added an “e” to the end of his name, and became Charles Gordone when he joined Actor’s Equity Association; a labor union for theater actors and stage managers.

Supporters of the Committee for the Employment of Negro Performers picketing a theater in New York City, 1962, courtesy of gettyimages.co.uk.

Two months after Gordone’s arrival in New York, he performed in Moss Hart’s Broadway play, The Climate of Eden, the “first of many Broadway and off-Broadway productions” for Gordone. He soon realized that black actors had a hard time earning a living in the entertainment business, and he claimed he “began to get really intense” about the lack of acting jobs for African Americans.  He started conversing with many “young black actors,” and soon started picketing theaters on Broadway for better job opportunities. Similarly, fellow Hoosier actor William Walker, who portrayed Reverend Sykes in the film version of To Kill a Mockingbird, became a fierce civil rights advocate in Hollywood after being relegated to roles as a domestic servant because of his race. Walker worked with actor and future president Ronald Reagan to obtain more roles for African Americans.

Around 1963, Gordone became the chairman of the Committee for Employment of Negro Performers (CENP). Gordone claimed in 1962 and 1963 that television producers feared the withdrawal of corporate sponsorship if they “put Negroes in their shows” and that “discrimination took more forms in the entertainment field than in any other industry.”

Although the Civil Rights Movement had made extensive strides toward improving equality among the races, civil rights laws did not deter de facto segregation, or forms of segregation not “codified in law but practiced through unwritten custom.” In most of America, social norms excluded African Americans from decent schools, exclusive clubs, suburban housing divisions, and “all but the most menial jobs.”  Federal laws also did not address the various factors causing urban black poverty. As racial tension mounted throughout the United States, Gordone struggled to survive in New York City.  During the last half of the 1950s, out of work and broke, Gordone took a job as a waiter for Johnny Romero in the first African-American owned bar in Greenwich Village.  His experiences there inspired his play No Place to Be Somebody, which he began scripting in 1960.

During the next seven years writing his play, Gordone sporadically worked in the theater industry.  He was an original member of the cast for Jean Genet’s The Blacks: A Clown Show.  The playwright, a white man, intended the play for an all African-American cast and a white audience.  He states in his script that “One evening an actor asked me to write a play for an all-black cast.  But what exactly is a black?  First of all, what’s his color?”

In The Blacks: A Clown Show, African Americans wage war against the “white power structure,” and the oppressed evolve into the oppressor. Warner noted that Genet’s play put Gordone “in touch with his black anger.”  In 1969, Gordone claimed that his experience as part of the cast changed his life because the play dealt with problems about race, enabled him to confront the “hatred and fear I [Gordone] had inside me about being black,” and introduced a talented group of African-American actors to the entertainment media including James Earl Jones and Maya Angelou.

1970 play bill, accessed hollywoodmemorabilia.com

Gordone finished his own play, No Place to Be Somebody, in 1967. The plot of the play revolves around an African-American bar owner named Johnny Williams.  Other characters include a mixed-race actor, a black homosexual dancer, a Jewish strumpet, a black prostitute, an Irish hipster, an aging black hustler, a member of the Italian mafia, an influential white judge, and the judge’s idealistic daughter. Johnny Williams, is a tavern-owner, pimp and wannabe racketeer.  His foil, Gabriel, also an African-American, is an intellectual struggling to be accepted as a legitimate actor.

According to a New York Times reviewer, the characters are forced to try and survive in a society controlled by white standards.  Johnny Williams possesses a desire to become “somebody” in Italian-run organized crime; Gabriel fails in his attempts to be cast in African American roles because he is light-skinned. The characters’ actions in No Place to Be Somebody are influenced by racial and cultural pressures directed towards characters of opposing races.  According to Gordone, “It [the play] is the story of power, about somebody who is stifled who was born in a subculture and feels the only out is through the subculture.”  By the end of the play, most of the characters fail in obtaining their goals because they have all set their “ambitions in excess of their immediate limitations.”

Gordone originally offered the play to the Negro Ensemble Company (NEC); an acting group rooted in the Black Arts Movement. He claimed the co-founder, Robert Hooks, turned it down because the NEC did not allow white actors in their theater troupe. Gordone and Warner produced a “showcase version” of the play at the Sheridan Square Playhouse in 1967, but “the response wasn’t too good.”  Gordone and Warner lost all their money in the venture. But in 1969, the play was accepted for the “Other Stage Workshop,” in Joseph Papp’s Public Theater, at the New York Shakespeare Festival.

Charles Gordone
Gordone directing his Pulitzer Prize-winning play at Joe Papp’s Public Theatre in New York, courtesy of Ebony.com.

No Place to Be Somebody opened on May 4, 1969 to mixed reviews.  New York Times reviewer, Walter Kerr, compared Gordone’s work to Edward Albee’s masterpiece, Who’s Afraid of Virginia Woolf?  Other reviews called the play “engrossing,” “powerful,” and hailed it as one of the “unique” plays of 1969.  On the contrary, influential African-American critic, Clayton Riley, blasted the play’s poor production and directorial choices.  Riley also questioned Gordone’s “incomprehensible” dialogue, depiction of “self-hatred,” “contempt for Black people,” and his “desire to say too much.”  Yet, Riley did state that Gordone possessed “splendid talents.”  According to Gordone, Riley’s review “hurt Riley more than me [Gordone] … brother Clayton is uptight.  He can’t face it that The [white] Man is helping one of his brothers.”

Headline from The [Arkansas] Hope Star, May 6, 1970, 5, accessed Newspapers.com.
After the play’s opening, No Place to Be Somebody quickly moved to the Anspacher Theater for an extended period of time and opened for a limited run on Broadway in the ANTA Theater. Exactly one year after the play opened at the Shakespeare Festival, May 4, 1970, Gordone won the Pulitzer Prize for Drama.  The play was the first off-Broadway winner, and Gordone became known as the first African-American playwright to win the award.  Yet he did not appreciate being categorized as a member of “black theater” or the Black Arts Movement, unlike Indianapolis poet Etheridge Knight.

According to a 1982 interview, Gordone’s views on race “alienated many blacks.” Gordone argued, in a 1970 New York Times editorial piece, that writers like LeRoi Jones (Amiri Baraka) should write about more than “how badly the black man is treated and how angry he is.”  Gordone believed such theater intensified the split amongst the races, and he questioned “Is black really ‘beautiful’?  Or is that beauty always hidden underneath the anger and resentment?”  According to Gordone, Jones’ writing was “egotistical, smug, angry (never violent), frightened, and damning of every white man in the world,” and Gordone took offense that Jones was “attempting to speak for all people of color in this country.”

According to Mance Williams, Gordone opposed the Black Arts Movement’s notion that the “Black Experience is a singular and unique phenomenon.”  Gordone believed that African-American culture was one part of the larger American Culture, reasoning that without the “white experience,” there cannot be a “black experience.” Williams states that Gordone believed the races were interrelated, and helped create the unique qualities that defined the “white” and “black” races. In a 1992 interview, Gordone said “We need to redefine multiculturalism.  There’s only one culture—the American culture, and we have many ethnic groups who contribute.”

Poet Amiri Baraka, a major figure in the Black Arts Movement, courtesy of Amherstmedia.org.

One possible explanation for Gordone’s belief in multiculturalism is the fact that he claimed his ancestral makeup consisted of “part Indian, part French, part Irish, and part nigger,” and he jokingly called himself “a North American mestizo.” Williams claims the playwright deemed the “color problem” could only be resolved through cooperation between the races, and that is why Gordone shied away from any radical political movements that could further divide the races.  However, according to Gordone, his exclusion from the Black Arts Movement left him “Dazed, hurt, confused, and filled with self-pity.”

Gordone claimed his professional success put tremendous pressure on him. Winning the Pulitzer Prize made Gordone unhappy because he was acclaimed as a writer, rather than a director. According to Gordone, “every time you sit down at a typewriter, you’re writing a Pulitzer Prize. You’re always competing with yourself and you have to write something that’s as good or better.” In 1969, he began drinking heavily, hoping “get the muse out of the bottle” after the “long struggle.” During Gordone’s battle with alcoholism, he still worked in the theater industry.  He got involved with a group called Cell Block Theater, which used theater as therapy as part of an inmate rehabilitation program.

In 1981, Gordone met Susan Kouyomjian and in 1982 they founded The American Stage, an organization devoted to casting minorities into non-traditional roles, in Berkeley, California.  The American Stage productions included A Streetcar Named Desire with a Creole actor playing Stanley; Of Mice and Men with two Mexican-American actors playing George and Lenny; and The Night of the Iguana with an African American actor in the lead role of Shannon.  According to Gordone, he and Kouyomjian never overtly wanted to provide more opportunities for “black, Hispanic and Asian actors,” but Gordone said “it is now very much my thing.”  Their goal was to logically cast actors “so that you don’t insult the work’s integrity.”  Gordone believed “innovative casting enhances the plays,” and makes them so exciting that “it’s almost like you’re seeing them for the first time.”

Charles Gordone, photo by Susan Kouyomjian Gordone, accessed African American Registry.

In a 1988 interview, Gordone continued commenting about the portrayal of race in contemporary literature and theater.  Susan Harris Smith asked if theater critics viewed Gordone as “black first and a writer second?”  He replied “Yes” and commented the practice was “racist.”  He claimed he was a playwright trying to “write about all people . . . and to say I [Gordone] have a black point of view is putting me in a corner.” He believed African-American critics finally reached a “significant realization” about the theme of No Place to Be Somebody, that “if blacks walk willingly into the mainstream without scrutiny their identity will die or they will go mad.”

In 1987, Texas A&M University hired Gordone to teach in the English and Speech Communications Department. There, Gordone began embracing the American-western lifestyle or “cowboy culture.”  The playwright stated, “The West had always represented a welcoming place for those in search of a new life,” and he found a “spirit of newfound personal freedom” within the American West.  Gordone remained in Texas until his death on November 16, 1995.  Friends and family scattered his ashes in a “traditional cowboy ceremony, with a riderless horse” near Spring Creek Ranch, Texas.

Learn more about Gordone via the Indiana Historical Bureau’s historical marker.

Hoosier Saint: Saint Theodore Guérin

Guerin graphic
Graphic created from: Oil painting of Mother Theodore Guérin from 1858. Digital Image Copyright ©2006 Sisters of Providence. Saint Mary-of-the-Woods.
Image of Mother Theodore Guerin, Digital Image Copyright ©2006 Sisters of Providence. Saint Mary-of-the-Woods.

In the early and mid 1800s, girls and young women in Indiana had limited access to educational opportunities.  Indiana historian Richard Boone noted that the state held “a prejudice against the education of girls with their brothers,” but “an impulse was early manifested” to establish schools for young women.

By 1850, approximately 14 schools for girls existed within the state. Young women also found it more difficult to obtain access to higher education during the early and middle 1800s. Most universities only allowed men to attend classes; Indiana University did not admit its first female student until 1867. During this time, however, there were dedicated individuals who worked to change the status quo. During her lifetime, Saint Theodore Guérin, recognized as a saint by the Catholic Church in 2006, provided educational opportunities to Indiana’s girls and young women through the establishment of schools, most notably Saint Mary-of-the-Woods College.

Saint Theodore Guérin was born and baptized at Etàbles in Brittany, France on October 2, 1798. Her parents, Isabelle le Fèvere and Laurent Guérin, named her Anne-Thérèse Guérin. During the first twenty-five years of Guérin’s life she faced numerous hardships. Before she reached the age of 13, she reportedly lost two brothers. When she was 15 years old, thieves robbed and murdered Guérin’s father, a French naval officer who served under Napoleon near Avignon, France. He was on furlough and heading home. After the loss of a husband and two sons, Guérin’s mother came down with a “severe illness,” leaving Anne-Thérèse Guérin to care for her mother and nine-year-old sister Marie.

The Indiana Historical Bureau and Sisters of Providence of Saint Mary-of-the-Woods installed a marker honoring Guerin in 2009.
IHB and the Sisters of Providence of Saint Mary-of-the-Woods installed a marker honoring Guérin in 2009.

Guérin was a devout Catholic from a young age. She took her first communion at the age of ten. After ten years of caring for her mother, Anne-Thérèse Guérin left home and committed herself to becoming a nun. At the age of 25, she became a postulant at the Sisters of Providence in Ruillé, France on August 18, 1823, and received the religious name Sister Saint Theodore Guérin. Immediately following her entrance into the
convent, Sister Saint Theodore suffered from a severe illness that impaired her health for the rest of her life. She could never eat solid foods again. After her recovery, the Sisters of Providence assigned Sister Saint Theodore Guérin to missionary work in Pruilly-sur-Claise.

After a short period of time as a postulant, Sister Saint Theodore recited her first vows on September 8, 1825. She professed her perpetual vows on September 5, 1831. Around the same time she declared her first vows, Sister Saint Theodore received the appointment of Superior to the Sisters of Providence educational establishment in Rennes. For ten years, Sister Saint Theodore assisted the convent in establishing numerous schools and orphanages in Rennes, but a dispute with the Superior General of the Sisters of Providence resulted in a transfer of Sister Saint
Theodore. Her new assignment relocated her to Soulaines, a small country mission where her talents, as one biographer stated, “would find a much narrower scope.”

Bishop Simon Bruté of Vincennes. Image in public domain.
Simon Bruté, Bishop of Vincennes. Image in public domain.

After only a year in Soulaines, France, Sister Saint Theodore Guérin was “voted medallion decorations” by the French Academy Board of Education in 1836. One year earlier, in 1835, the Reverend Simon Bruté, the first Bishop of Vincennes, Indiana, visited Rennes, France. He and the Reverend Célestine de la Hailandiére, soon to be Vicar-General of the Vincennes Diocese, became acquainted with the various charitable works of the Sisters of Providence. Four years later, in 1839, Bishop Bruté sent his Vicar-General on a recruiting mission to France from Indiana. The Reverend Hailandiére searched for sisters of the Catholic faith willing to move to the United States and create schools and orphanages for the Vincennes Diocese.

When the Reverend Hailandiére reached France, he received news that Bishop Bruté had died on June 26, 1839. He also obtained confirmation of his own appointment as the new Bishop of Vincennes. While in France, Bishop Hailandiére convinced six members of the Sisters of Providence to come to the United States and start a school in his Diocese. Hesitant because of her frail health, Sister Saint Theodore Guérin initially did not accept Bishop Hailandiére’s invitation, but, after careful consideration and prayer, she finally took a leadership position in the operation.

* * *

On July 12, 1840, Sister Saint Theodore and the other sisters began their journey, departing from Ruillé, France. Fourteen days later on July 26, 1840, they left for Vincennes on the ship, Cincinnati. On September 4, 1840, the Cincinnati dropped anchor in New York. After traveling from New York by train, stagecoach, and steamboat the sisters rested in Madison, Indiana. On October 1, 1840, Bishop Hailandiére and three other men told the sisters they would not be starting a school in Vincennes. The Vincennes Diocese decided Terre Haute needed their services more. After various difficulties, Sister Saint Theodore and the other nuns arrived in the middle of a thick, village-less forest four miles outside of Terre Haute on October 22, 1840. Eventually, this became the site of Saint Mary-of-the-Woods College.

Sketch of Saint Mary-of-the-Woods in 1845. Digital Image Copyright © 2007 Sisters of Providence. Saint Mary-of-the-Woods.

The sisters lived with a farmer, Joseph Thralls, and his family during construction of their motherhouse and Saint Mary-of-the-Woods school. Workers also cleared land for farming and chopped wood for winter. During the school’s construction, Bishop Hailandiére visited the sisters on November 12, 1840, and awarded Sister Saint Theodore the title of “Mother.” Soon thereafter the Sisters of Providence began accepting new women ready to join the convent.

The first postulant arrived on May 1, 1841. On October 9, 1841, the Wabash Courier (published in Terre Haute) advertised the “Convent and Academy,” headed by “Sister Theodora Guerin.” After the establishment of their first school at Saint Mary-of-the-Woods, the sisters’ educational influence spread quickly throughout the state. On March 21, 1842, the Sisters of Providence opened a Girls’ Boarding School in Jasper. Despite terrible hardships, the convent opened 19 schools and orphanages between 1842-1856, spanning from Evansville to Vincennes to Fort Wayne.

Perhaps the most significant difficulty faced by the sisters was a fire that destroyed their barns and granaries on October 2, 1842, burning various provisions needed for the upcoming winter. Impoverished by fire, Mother Theodore Guérin, Sister Mary Cecilia and other unnamed sisters left Terre Haute for France on April 26, 1843 in search of financial aid. One month later, Mother Theodore and her traveling companions arrived in France upon the Silvia. During their stay, Mother Theodore Guérin and Sister Mary Cecilia met with Queen Marie Amelie of France, and secured money for the voyage back to the U.S. The Queen also began taking donations that later helped fund new schools.

On November 28, 1843, Mother Theodore and the sisters left France on the Nashville. The boat headed to the Gulf of Mexico and docked in New Orleans. The passengers and crew faced numerous hardships on the voyage back to the United States. The Nashville nearly sank during a hurricane, and Mother Theodore became “seized with fever” while in New Orleans. The sisters then traveled up the Mississippi, Ohio, and Wabash rivers to return to Terre Haute. Mother Theodore Guérin and the other sisters finally returned to Saint Mary-of-the-Woods on April 1, 1844.

A statue of Saint Mother Theodore Guerin by Teresa Clark at All Saints Cemetery in Des Plaines, Ill. An inscription on the front of the statue is a quote from Guerin that reads, "Love the children first, then teach them."
A statue of Saint Mother Theodore Guérin by Teresa Clark at All Saints Cemetery in Des Plaines, Ill. An inscription on the front of the statue is a quote from Guérin that reads, “Love the children first, then teach them.” Image from Sisters of Providence, Saint Mary-of-the-Woods blog.

Mother Theodore Guérin continued to advance women’s educational opportunities after she returned from France. Mother Theodore Guérin and the Sisters of Providence established a seminary of higher education for women at St. Mary-of-the-Woods. On January 14, 1846, nearly six years after arriving in Terre Haute, Governor James Whitcomb approved the Articles of Incorporation for the Female Seminary of St. Mary’s of the Woods (Saint Mary-of-the-Woods College).

After 12 more years of continuous educational service with the Sisters of Providence, Mother Theodore Anne-Thérèse Guérin died on May 14, 1856. She was buried on the grounds of Saint Mary-of-the-Woods College. On December 3, 1907, Mother Theodore’s remains were moved from the burial plot to a crypt. During the re-burial process workers discovered what is considered the first sign of Mother Theodore’s holiness: her brain was still intact.

Almost a year later, on October 30, 1908, the first miracle attributed to Mother Theodore Guérin occurred. Sister Mary Theodosia, who was suffering from cancer, stopped at Mother Theodore’s tomb to pray for another ill sister, Sister Joseph Therese O’Connell. The next day Sister Theodosia’s ongoing pain vanished. A medical examination later could not find the cancerous tumor.

Image of Mother Theodore Guerin, Digital Image Copyright ©2006 Sisters of Providence. Saint Mary-of-the-Woods.
Image of Mother Theodore Guerin, Digital Image Copyright ©2006 Sisters of Providence. Saint Mary-of-the-Woods.

This unexplained occurrence piqued the interest of the Indianapolis Diocese. Two months after Sister Mary Theodosia prayed at Mother Theodore’s tomb, Bishop Joseph Chartrand of the Indianapolis Diocese wrote to the Sister’s of Providence Superior General, Mother Mary Cleophas Foley, to indicated that initial “proceedings regarding” Mother Theodore’s canonization would be discussed on December 6, 1908. Many members of the Diocese began to diligently gather the needed information about Mother Theodore Guérin, including interviewing people such as Mother Anastasie Brown who worked with the foundress.

In January 1914, the Reverend Alphonaus Smith and the Reverend John T. O’Hare officially initiated the rigorous process of canonization for Mother Theodore Guérin when they left for Rome with about 500 sealed typewritten pages of evidence. Years passed as different Catholic committees performed the needed tasks to complete Mother Theodore’s canonization. In June, 1975 members of the Indiana Academy elected the late Mother Theodore Guérin into their organization. The academy was created by the “Associated Colleges of Indiana to honor Hoosiers who have enriched the cultural and civic life of the state.”

During the 1990s the canonization of Mother Theodore gained momentum. In November 1996, Vatican medical consultants approved the healing of Sister Mary Theodosia as a miracle. Four months later, in March 1997, the Sister Theodosia miracle was approved by Vatican theologians, and acknowledged by the Cardinals in June that same year. On October 25, 1998, Pope John Paul II beatified Mother Theodore Guérin in St. Peter’s Square in Rome. The church gave her the title, Blessed Mother Theodore Guérin. Pope John Paul II stated at the ceremony that

“Her life was a perfect blend of humanness and holiness. She was fully human, fully alive, yet her deep spirituality was woven visibly through the very fabric of her life.”

Pope Benedict XVI proceeds to the altar at St. Peter's Square for the canonization of Saint Mother Theodore Guerin in 2006. Digital Image Copyright © 2006 Sisters of Providence. Saint Mary-of-the-Woods
Pope Benedict XVI proceeds to the altar at St. Peter’s Square for the canonization of Saint Mother Theodore Guérin in 2006. Digital Image Copyright © 2006 Sisters of Providence. Saint Mary-of-the-Woods

In 2001, doctors diagnosed Phillip McCord, an employee at Saint Mary-of-the-Woods College, with a swollen cornea. Physicians told McCord that he needed a risky surgical procedure to transplant a new cornea. Although not a Catholic, McCord prayed to Blessed Mother Theodore Guérin for help. Slowly his condition improved over a matter of weeks, and doctors were amazed at his recovery without surgery. According to a 2006 article in the Criterion, McCord had “better than 20/20 vision in both eyes.” With the approval of this final miracle, Blessed Mother Theodore Guérin was canonized and officially determined to be a Saint on October 15, 2006. The Vatican gave the new Saint the religious name Saint Theodora Guérin, but the Sisters of Providence refer to her as Saint Mother Theodore Guérin.

In addition to her sainthood, Guérin’s ongoing legacy features her efforts to spread learning throughout Indiana. As of 2008, her most prominent endeavor, Saint Mary-of-the-Woods College, continues the mission it began under Saint Theodore Guérin, to provide women with educational opportunities. Saint Mary-of-the-Woods College enrolls 1,700 students and offers campus-based undergraduate and graduate degrees and certificate programs.  After 175 years of operation, the Saint Mary-of-the-Woods’ Board of Trustees voted for the college to become fully co-educational in 2015.

To view the citations and annotations used in this post click here.

Wabash Valley Visions and Voices Digital Memory Project holds an impressive collection of digitized artifacts, and documents associated with Saint Theodore Guérin as well as historical sketches of Saint Mary-of-the-Woods College.