‘Corktown’: An earnest but sloppy exploration of gentrification

On paper, the plot and themes of playwright Jeff Augustin’s work “Corktown, Or Through the Valley of Dry Bones” is an intriguing play for Michigan residents.  

The story, happens in Detroit between 2007 and 2034, takes viewers on a tour of the Corktown neighborhood as it goes through the gentrification process that displaces minority residents.  

This theme plays out in urban settings across the nation, and a story that exposes the downside of urban revitalization should be an important piece. Unfortunately, “Corktown” is not that piece. 

Guided by Jackee (Rashad Bates), a 14-year-old resident of Corktown whose side hustle is giving tours to urban decay fanatics, the audience is guided through the neighborhood’s gentrification and the changing lives of its residents. 

The script is earnest but sloppy. Augustin chose to model the play after Thorton Wilder’s “Our Town,” which could be an effective model if done well. It seems like Augustin wants to objectively present multiple sides of the gentrification struggle through a range of characters who react differently to the change.  

The well-intentioned Clarke (Ben Barber) intends to open a gallery in Corktown to help spark a renaissance, but his actions eventually and improbably spark a fire. Disaffected tagger Atlas (Bashar Byrouthy) embraces the change, horrifying his girlfriend Phylicia (Nakayla Morgan) when she returns home from university to find too much change for her taste.  

The conflict over the gentrification of Corktown culminates in some acts of violence that lack gravitas. In the final act, the script jumps to the future, and the scene is split between the ghosts of residents talking in a graveyard while two of the newly gentrified residents drink coffee in a chichi café. This scene is highly discombobulating, as the characters in both scenarios talk over each other, and key plot points are lost depending on which group the viewer tries to focus on.  

Perhaps some of the script issues would have been less frustrating if the overall production was better. From the opening lines, it was clear that some of the cast was not prepared to project their voices to overcome the cavernous nature of the Pasant Theatre. The pacing was often an issue, as characters delivered lines too fast to be understood or trailed off as they departed the stage.  

The play is not without some bright spots. Jewell Redman is terrific as Corner Prophet or “Proph.” A combination of town crier, local historian and news source for Corktown, Proph is the heart and soul of the neighborhood, and her eventual departure is a truly moving scene. Michale Coffey is very comfortable in the role of Jackee’s older brother Sherman and gives the most naturalistic performance of the cast. 

Kasee Arnett’s scenic design is eye-popping, further enhanced by Nicklas Casella’s fantastic lighting design. The use of music by the MSU Gospel Choir is a nice touch. 

Director Chamara Jewel Kwakye’s program notes indicate this is an important story to tell, and that is true. Unfortunately, “Corktown” is not strong enough to make us worry about similar things happening in our town.