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King Hedley II
Saturday May 05, 2001.
By Katherine Marie Loague
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Goodman Theatre While our country grapples wtih Presidential elections 101, the new Goodman Theatre has set forth the 2000/2001 Inaugural Season with dignity and elegance. The contrasting odysseys differ ultimately in their preparation. Our flailing boys in Washington appear unprepared as they negotiate from one knee jerk reaction to the next. The Goodman's evolution has been busy in the wings for well over a decade. Let the Inaugural Celebration go forth! As one approaches the marquee on Dearborn Street, inevitably the delight is in the details!!! Immediately one recognizes that the voice of the patron has been heard. Traffic flows smoothly through the lobby as the audience navigates between box office, coat check, concessions, and ultimately seating; without the previous bottlenecks. (And how about that Ladies Room!) Once inside the auditorium, an intimate (albeit larger in physical scale) artistic sanctuary is embraced by an eager audience. Once can instanly recognize how much grander the stage is while feeling much less distant to it. Cradled in comfort with leg room to spare, it is a kinder audience eager to engage their neighbors before the lights dim. The premiere piece is August Wilson's King Hedley II. Designers Rob Milburn and David Gallo unite to immediately embrace the audience with the music of the 80's as we confront the crumbling decayed home and dirt yard of King Hedley II and that of his pack rat neighbor Stool Pigeon. We have been set up. "God's Got a Plan!" Wilson's talent is in trusting that the human spirit however bruised, damned or exploited is worthy of being heard and acknowledged for the glory it carries. He has chronicled the American black experience of the 20th century with deliberate attention to that spirit. Clearly on a mission, Wilson has altered the landscape of American Theatre as no other playwright. Wilson raises the bar for the typical theatre patron- his plays breed insightful dialogue offstage as well as on. With characters rich in honesty there is no attempt to air brush their flaws; rather track their evolution. It is the inconsistencies in nature that magnetize the viewer. As in life, some of these characters reappear with new tales to tell or secrets to shed. And "You gotta know that!" With King Hedley II, Wilson spins a yarn on life and every conceivable manifestation of the ensuing death that even Aunt Ester's cat can't resit tugging at. He begs the question of who is really in control of our circle of life and do we relinquish personal/spiritual power to the political powers that be? What are the effects of such actions? As we travel through life and revisit our choices informed by maturity, do we allow our insight to swell or do we pack our memories in pride and bitterness and stay the course? Each character proudly drags his baggage until their load demands release Center stage King digs into the dirt determined to grow flowers. This metaphor of a stunted growth cycle ultimately protected by barbed wire proves to be the barometer of this man's soul; doubted, stepped on, nurtured back to life, protected, and destroyed with intent. His wife Tanya engages him in a battle to forgo bearing their child who would mirror that cycle. His mother, Ruby has perpetuated that cycle by feeding King lies and will most definitely pay for it. Her dying lover Elmore, needs to relieve his burdens into the midst of the cycle; consequences be damned for he is "in charge". King's misguided friend Mister rewinds the cycle out of ignorance. Finally, Stool Pigeon reports religiously on the cycle to deaf ears. Director Marion Isaac McClinton has assembled an astonishing ensemble. Lou Meyers (Stool Pigeon aka Canewell) tenacious sincerity in spreading the word and the news while preparing for the end (and perhaps Aunt Ester's return) is delightful. The lean and lanky Richard Brooks embodies the title role with the mounting frustration of a man held back ready to bust out and grab his dreams. As Tonya, Yvette Ganier receives show stopping audience approval each time she presents her perspective to King, we get it even if he can not. Monte Russell's "halo" shines as the misdirected but well-intentioned friend to all. Charles Brown is a mountain of a man with a craft to match. Leslie Uggams explores the weight of abandoning a dream and living a lie with depth and vigor. King Hedley II is not a star vehicle. These folks are aptly matched. As directed by Mclinton each character is allowed to be witnessed unplugged and in kind they bear witness to one another. This play explores relationships to self, others and the past. Toni-Leslie James period costumes enhance each characters individuality. This show does not require special efects. It is strictly about cause and effect and that is special enough.
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