Waiting for Gem of the Ocean to begin and taking in David Gallo's not-yet illuminated version of a large parlor at 1839 Wylie Avenue in Pittsburgh's Hill district circa 1904, I realized something that I habitually do in anticipation of whatever is the newest addition to August Wilson's decade-by-decade cycle of plays about the 20th-century African American experience: I prime myself to relish the collection of full-bodied speeches that I have every reason to believe some or all of the play's characters will be given. It's a similar feeling to the one I've had in the past at new Richard Rodgers-Oscar Hammerstein II or Alan Jay Lerner-Frederick Loewe musicals -- or, more recently, at a new Ste[...]