XIV
CHARLES S. GILPIN
AS an illustration of the highly romantic temperament that characterizes the Negro race, and also as an instance of an artist who has worked for years to realize his possibilities, we might cite such a shining example as Charles S. Gilpin, the star of "The Emperor Jones" in the New York theatrical season of 1920-21. Here is a man who for years dreamed of attainment in the field of the legitimate drama, but who found no opening; but who with it all did not despair, and now, after years of striving and waiting, stands with his rounded experience and poise as an honor and genuine contributor to the American stage.
Charles S. Gilpin was born in Richmond, Va., the youngest child in a large family. His mother was a nurse in the city hospital; his father a hard-working man in a steel plant. He was educated at St. Frances' Convent, where he sang well and took some part in amateur theatricals; but he was to work a long while yet before he found a chance to do the kind of work that he wanted to do, and meanwhile he was to earn his living as printer or barber or otherwise, just as occasion served. He himself has recently said, "I've been in stock companies, vaudeville, minstrel shows, and carnivals; but not until 1907 did I have an opportunity to show an audience that the Negro has dramatic talent and likes to play parts other than comedy ones."
It was in the 90's that Mr. Gilpin began his professional work as a variety performer in Richmond, and he soon joined a traveling organization. In 1903 he was one of the Gilmore Canadian Jubilee Singers; in 1905 he was with Williams and Walker; the next season with Gus Hill's "Smart Set"; and then from 1907 to 1909 with the Pekin Stock Company of Chicago. This last company consisted of about forty members, of whom eleven were finally selected for serious drama. Mr. Gilpin was one of these; but the manager died, and once more the aspiring actor was forced back to vaudeville.
Now followed ten long years—ten years of the kind that blast and kill, and with which even the strongest man sometimes goes under. With the New York managers there was no opening. And yet sometimes there was hope—not only hope, but leadership and effort for others, as when Mr. Gilpin carried a company of his own to the Lafayette Theatre and helped to begin the production of Broadway shows. Life was leading—somewhere; but meanwhile one had to live, and the way was as yet uncertain. At last, in 1919, came a chance to play William Custis, the old Negro in Drinkwater's "Abraham Lincoln."
The part was not a great one. It was still bound by racial limitations and Custis appeared in only one scene. Nevertheless the work was serious; here at least was opportunity.
In the early fall of 1920 Mr. Gilpin was still playing Custis and helping to make the play a success. Meanwhile, however, Eugene O'Neill, one of the most original playwrights in the country, had written "The Emperor Jones"; and Charles S. Gilpin was summoned to the part of the star.