Everyman Theatre: Radio Golf

In the chronology of August Wilson's Century Cycle of plays, "Radio Golf" holds a unique distinction.  It is both the final play of the century by decade and the last of the cycle to be written.  It was, in fact, Wilson's final work, completed only a few weeks before his death.  For me personally, it is the fifth of the cycle's nine plays to be seen on stage.  And once again, prior to the performance I had no idea what the play was about other then gentrification and Pittsburgh.  What can be said of this work objectively?  Of the works I've seen, it had the smallest cast of characters with just 5.  It made illusions to previous works, most significantly the first play in the cycle.  It was compelling from start to finish.  What did I like about it?  It wasn't formulaic, no one died to give it a dramatic edge. I was only ahead of the plot on one of the key moments--and it felt good when it happened and the audience gasped, and I thought, "Well, of course that was going to happen."  It was optimistic.  It ended on hope.  Like a capstone to his life, his final offering was hopeful.  I think that was the most profound revelation of all.

In advertising a Wilson play, theatres tend to emphasize whatever social theme is part of the plot; however, I think this approach is misleading.  Wilson's dramas are not about social themes.  They are about characters.  Interesting, generally rounded human beings.  Granted, the circumstances are those of black Americans, but the emotions and thoughts and actions are universal.  To even suggest in this statement that it would or could be otherwise is an acknowledgement of just how profoundly racist a statement that is.

To this production specifically, the cast was superb.  I know well the talents of Dawn Ursula.  I've seen her now in nearly a dozen plays.  Because she is familiar, I take for granted the she is going to give a rock solid performance.  What I don't think about is that she'll surprise me.  Shame on me.  In her final scene, she handled a moment that could have been so cliche with a nuanced, understated performance that arrested my thought-dialogue with the play long enough to form a silent "wow" in my mind.  Of the three supporting actors nothing disparaging can be said.  Each man inhabited the soul of their character with a passion befitting the role.  And each, in their turn, had their moment to shine.  With every entrance, they built upon the previous actions to move my engagement with them to a deeper and more empathetic level--even when I didn't like who the character was.  But the lynchpin to the entire play belonged in the capable hands of Jamil A. C. Mangan in the role of Harmond Wilks.  I've mentioned this quality before.  An actor who can apprehend the arc of a character and transcend the immediacy of any particular scene in order to convey the reality of transformation is my standard for top praise.  Wilson wrote the role of Harmond Wilks as powerfully as any to embody this, and clearly Jamil A. C. Mangan was up to task of making it real.  Witnessing his performance once it was clear what was happening left me buzzing a little on the insides.  Great theatre.

The set was every bit up the task of providing the nest from which this production was birthed.  Beautiful and empowering in its every detail.

both thumbs up, on stage through November 17th.

Enter Harmond Wilks (Jamil A. C. Mangan) and his wife, Mame Wilks (Dawn Ursula) and the magnificent set (designed by Christopher and Justin Swader)

Harmond Wilks and Elder Joseph Barlow (Charles Dumas)

Roosevelt Hicks (Jason B. McIntosh) with Mame & Harmond Wilks

Elder Barlow and Wilks discovering a pivotal connection.

Sterling Johnson (Anton Floyd) bringing Wilks some much needed moral imperative.