Radio Golf finishes late Wilson’s series of shows.
Theatre Review: Skillful cast tells story of politics, economic development in African-American community.
By David J. Glover
Towson Towerlight April 3rd 2006, page 21
Radio Golf, running till April 30th, is the final part of August Wilson’s ten play cycle. Each play is a self contained commentary on the African American experience in each of the decades of the 20th century. Radio Golf finishes this epic saga and although we leave the theatre content with the finality of the story, we are in no doubt that there is, or at least was, a whole lot more.
Some Towerlight readers may be put off by the idea of seeing the final part of a century long saga but Radio Golf easily stands alone without the audience requiring any previous knowledge of the other works by Wilson, a highly acclaimed and multi-award winning playwright who died last year age 60. The text is engaging and the five person cast bring life, body and meaning to Wilson’s powerful commentary.
Set in Pittsburgh in 1997, this two and a half hour play tells the story of Harmond Wilks and business partner Roosevelt Hicks’ attempt to redevelop the blighted Hill District they grew up in.
The cast is skillfully headed by Rocky Carroll (film credits include Crimson Tide and Born on the Fourth of July) playing redeveloper, businessman and Mayoral candidate Harmond Wilks. Wilks’ relationship with his wife, Mame (Denise Burse; Angle, Law & Order, The Sopranos) and business partner Hicks (James A. Williams) is stretched to breaking point when Wilks refuses to demolish the house at 1839 Wylie Avenue allegedly belonging to the elderly Joseph Barlow (Anthony Chisholm; Law & Order, SVU, Oz). His refusal, on both moral and practical grounds jeopardizes the redevelopment, his wife’s career and his candidacy. August Wilson shows us these characters “as they struggle to remain whole in the face of so many things that threaten to pull them apart.”
Chisholm’s quirky yet touching portrayal of the aging Joseph Barlow, elicits a sympathetic response from the audience. A response in beautiful contrast to Roosevelt Hicks’ foul-mouthed, aggression, as he repeatedly collides with local handyman Sterling Johnson (John Earl Jelks)
Appealing to a diverse audience there is a tendency for Wilson’s works to be read with an emphasis on racial and political overtones but the five black actors and Tony Award winning director Kenny Leon, who has now directed nine of the ten plays, (and was voted by People magazine one of the “50 most beautiful people” in 2004 – who knew?), expose characters that have as many issues with each other’s personal histories as they do with that of the African American experience. In one particularly powerful scene Johnson and Hicks violently debate the terms “nigger” and “negro” from the perspective of the modern black male. Far from making CentreStage’s mixed race audience uncomfortable Jelks and Williams’ masterful performances confront racial and class differences with pathos, believability and humor, allowing the whole audience to fully engage with the characters’ conflict.
Chisholm, Jelks and Williams have appeared in Radio Golf since it premiered last April at Yale Rep Theatre. It is admirable then that all the actor’s performances come across as fresh and energetic. Some characters appear more rounded than others but the overall quality of performance is engaging and enjoyable.
It is almost a shame, however, that this production does not open with the raising of a front curtain. I am in no doubt that David Gallo’s distinctly detailed set would elicit a round of applause (at least) if it were revealed as part of the opening scene. Instead the audience is immediately presented with Gallo’s slightly chaotic and multi-layered set as they walk into the 500 seat, two-tier Pearlstone Theatre. Gallo, who has worked with the Blue Man Group in Las Vegas, has won many awards for his set design, this set is a visual feast but not so much that it is distracting. Unfortunately the same can not be said for Donald Holder’s lighting.
The text, set and costuming do not necessitate any grand lighting design and although Holder has clearly attempted subtlety when changing the lights to draw attention to specific moments and speeches in the play the changes themselves merely draw attention to the lighting and feel forced and over dramatized.
Academically this play will appeal to many Towson Students, I would certainly recommend it to Cultural and History Studies, African American Studies and even Business studies students. It is certainly worthy of a night out. However, my advice to you is: don’t go on the weekend. After negotiating down town Baltimore’s Friday and Saturday night parking fiasco (where is Baltimore’s Mass Transit System exactly?) you will not get much change out of $100 for two tickets. Student deals are available so call CentreStage (410.332.0033) or check out their website (www.centrestage.org) before making any decisions.
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