Reviewed by Judy Richter
"Radio Golf," which playwright August
Wilson completed
in 2005, completed his epic cycle of 10 plays chronicling black life during
each decade of the 20th century. Unfortunately, he died of liver cancer at the
age of 60 a few months after its completion and shortly before its New York
premiere. TheatreWorks is presenting its regional premiere.
One
wonders what plays would be coming from him if he were still alive this year,
when Democrat Barack Obama is the first black man to become the presidential
nominee of a major American political party. In some ways, though, "Radio
Golf" foreshadows that milestone by focusing on the efforts of an
energetic young man to become the first black mayor of Pittsburgh. Wilson was
born in the Hill District of Pittsburgh, where all but one of his cycle of
plays is set. "Ma Rainey's Black Bottom" is the exception.
In
"Radio Golf," set in 1997, developer and mayoral aspirant Harmond
Wilks (Aldo Billingslea) and his business partner, Roosevelt Hicks (Anthony J. Haney), have an ambitious plan to
demolish part of the Hill District and redevelop it with apartments, a parking
garage and chain businesses like Whole Foods, Starbucks and Barnes & Noble.
Their company has acquired the property and -- with its being declared blighted
by the city -- seems sure of the funding needed to proceed. Harmond plans to
announce his candidacy at the groundbreaking.
A
potential stumbling block arises when an eccentric old man, Elder Joseph Barlow
(Charles Branklyn),
claims that one of the houses slated for demolition belongs to him. He says the
city never gave him notice that it was auctioning the house for nonpayment of
taxes. Harmond investigates and discovers that the city sold the house before
giving proper notice, so they have no legal claim to it. After going into the
house, which was the home of the recently deceased Aunt Esther, the central
figure in "Gem of the Ocean," the first play in Wilson's cycle, Harmond senses
how special it is to the neighborhood's history. He also discovers that he has
ancestors connected to that house and that he's related to Barlow.
He
redesigns the project to leave the house and build around it, but Roosevelt
opposes the idea, as does a judge after Harmond seeks an injunction to halt the
demolition. Not only that, but Roosevelt has quit his job as a vice president
of the local Mellon Bank to work with a rich white businessman of highly
questionable ethics. The man buys a local radio station for Roosevelt to
manage. Roosevelt, an avid golfer like Harmond, also starts a radio program
giving golf tips (hence the play's title). He disregards Harmond's accusations
that he has merely become the token black who enables the businessman to claim
incentives given to minority businesses.
Harmond's
wife, Mame (C. Kelly Wright), an upwardly mobile career woman, also opposes his
efforts to redesign the project. The issue threatens their heretofore happy
marriage. Not only that, but Roosevelt dissolves their partnership by buying
him out. Aligned on the side of saving the house are the old man and an
itinerant construction worker, Sterling Johnson (L. Peter Callender), whom the old man has hired to
paint the house. Hence, Harmond is torn between trying to save his marriage and
political career on the one hand and, on the other hand, trying to act in an
ethical manner and to connect with his roots in the black community.
Director
Harry J. Elam Jr.,
a Wilson scholar and professor at neighboring Stanford University, directs the
play with keen insights into Wilson's themes and characters. All five actors
create memorable characters. Billingslea is notable as Harmond, exuding an
energetic, commanding, yet polished presence that could serve him well in
politics. Branklyn's Elder Joseph Barlow is a persistent, patient man who
intuitively understands that the white establishment still isn't likely to
elevate a black man to a significant position of power. Haney overacts at
times, but overall he exudes Roosevelt's optimism and willingness to play the
establishment game. Wright is well-matched with Billingslea and is believable
as a loving wife and capable career woman. Callender's Sterling successfully
serve's as the play's conscience.
Erik
Flatmo's
somewhat shabby storefront set works well with its folding tables and metal
office furniture. Costumes by Connie Strayer, lighting by Steven B.
Mannshardt and
sound by Mike McCann also enhance the play and characters.
Wilson's
too-early death deprived the nation of one of its greatest playwrights, but his
plays are a lasting legacy.
For More Information
Return to Home Page