Reviewed by Will
Stackman
The
Huntington Theatre Co.'s season opener, the pre-Broadway presentation of this
theatre's production of their old friend, August Wilson's last play "Radio Golf." The final work in his
interrelated set of plays--one for each decade of the 20th century which
chronicle the life of the African-American community in Pittsburgh's Hill
District--was finished just before his death at age 60. This effort is directed
by Kenny Leon,
whose helmed the Huntington's last Wilson production, "Gem of the
Ocean," The five-member cast has all worked on various plays by the
author, and four have been seen in productions in this theater. "Radio
Golf" had its first run at the Mark Taper in L.A. directed by Leon. But
somehow the show seems unfinished, its characters more superficial, its action
plainly melodramatic. One can understand the urgency surrounding its completion,
but the arbitrary nature of much of the situation and character's reactions is
a letdown.
Regional
stage actor Hassan El-Amin plays the central figure, Harmond Wilks, who inherited a
large real estate business in the area. He's planning to campaign to become the
city's first black mayor. Wilk's strongest backer is his wife, Mame, played by Michole
Briana White.
She's a well-connected public relations specialist, who did not grow up in the
Hill District, and has no interest in living there. James A. Williams plays his partner and old
friend, Roosevelt Hicks. They're involved in a multimillion dollar real estate
development, which will tear down the fabled house central to several of the
plays in the cycle. All three actors are believable as contemporary professionals,
pursuing the American dream. But they seem somehow stereotypes, fully fleshed
out by the actors but distinguished by merely their minor quirks and external
circumstances, such a Harmond's twin football player brother who died in
Vietnam, rebelling against their stern father.
The
rest of the cast includes two slightly mythic characters, Sterling Johnson
played by Eugene Lee--who replaced previously announced James Earl Jelks--and Elder
Joseph Barlow, played by Anthony Chisholm, both typically Wilsonian. Both were seen in
"Gem of the Ocean." Their character's speech is colorful, embellished
by folk wisdom, while their world views are unique if somewhat arbitrary. Their
scenes elevate the action beyond a comedy about two ambitious black businessmen
which ends in unanticipated betrayal. But Johnson and Barlow seem like stock
characters, contributing to a sense of melodrama and carrying most of the
freight from the past. This continuity doesn't contribute as much to the play
as one might hope. Wilson's work is always worth consideration, but "Radio
Golf" lacks the impact of his more important plays. With the help of
friends and longtime collaborators, its a satisfactory evening of theatre even
where the work seems embryonic. And "Radio Golf" doesn't really sum
up the lives depicted in the nine previous plays.
The
set by David Gallo,
who did "Gem of the Ocean," "King Hedley II," and
"Jitney" for the Huntington, is again spectacular, reaching into the
flies and off into the wings, with the acting area, an dilapidated storefront,
flanked by an abandoned barbershop and a derelict bar which don't figure in the
action. Donald Holder's essentially realistic lighting has moments of focus while costumes
by Susan Hilfrey
help define the two world's of the play. Dan Moses Shrier's sound design employs Kathyrn
Bostic's
original compositions and adaptations. This first-rate production should
transfer effectively to New York, even though the only big name this time is
the author. But there's something extraneous about much of the set; the play
might be more convincing with less decor. Its small cast and modern dress may
encourage regional productions in future season's but not necessarily to the
increase of Wilson's stature.