RADIO GOLF is the last play in August Wilson’s celebrated ten-play century cycle. Completed months before Wilson’s death, it is a bit scary. I read it and was stunned. I saw the production at The Studio Theater in D.C. and left feeling less hopeful than at the end of any of the nine previous. The writing is beautiful. The drama is realized. The final notes are somber. There doesn't seem to be a way to save the Wylie Avenue house and what it represents.
Ron Himes' direction of this production of RADIO GOLF is mundane. That's okay since the play needs little help. The interpretation -- the themes -- are laid out in August Wilson’s superb text. A director's only work would be to get better performances from the actors and to fully realize the technical elements of the production. The RADIO GOLF set reminded me of the 2000-2001 Studio Theater production of Wilson's JITNEY. In fact, I thought it was a lovely reference to the cyclical nature of the works even though it lacked the hill-like, incline feature of the previous set.
In the role of real estate magnate, Harmond Wilks, Walter Coppage is a little boring. His interpretation of this character doesn’t seem to have any passion. I think he is trying to show comfort and ease with Wilks’ economic status. Very relaxed he is, but he comes across as not being fully focused on the drama. It felt like Coppage was creating Harmond Wilks as George W. Bush.
Erik Kilpatrick missed most of the meaningful beats in the character of Sterling Johnson and Kim Sullivan seemed uncomfortable in the role of Roosevelt Hicks. It is in these spots that the limitations of Ron Himes’ direction is clear. More could have been elicited from these performances.
Wilks’ wife, Mame, has one moment of lively, atavistic, personality -- the "dry ice" quip. This, I felt, was Wilson keeping his visionary-griot, Elder Joseph Barlow, on his toes. Even in the midst of all of the spiritualism, local history and ritual is the possibility of bunko. And it is Mame who says that ". . . its just not practical to throw all that history away." in answer to Harmond's plan to rename the Health Center for an historical figure that no one knows. Mame as written is, unsurprisingly, a woman with little to say. But in these places she does have important things to say. Unfortunately, Deidra LaWan Starnes' breezy, self-assured delivery throws out her character’s best bits. When she is forced into her Act 2 self-revelation, she merely explodes, then capitulates. If we hadn't read the play we wouldn't have known this was coming. It sits out there strangely, frustratingly.
Frederick Strother's Elder Joseph Barlow is the soul of the drama, as well as, the neighborhood's documentarian. Strother is certainly at the center of this production as his character is at the center of the play. In this summing up Elder Joseph Barlow is carrying heavy. He struggles up the hill to the office, he struggles up off the sofa. But he is a survivor because he's got sense enough to ask for - to demand if necessary - the help he needs. He does get water from Harmond Wilks. He does get justice from Wilks. Veteran Frederick Strother is there for every beat. He uses the humor that is in the words and stage directions, yet he keeps it under control -- not letting the audience get too carried away with laughing at him. He is pitch perfect and is carrying more than his share in this unevenly acted production.
Dreaded Tourmaline had dinner before the theater at the corner of 14th & Monroe Sts. N.W. at the casual/classy, Ruby Tuesday. Happily this is part of the revitalization of the old African American shopping hub at 14th & Park Roads. N.W. It’s a nice spot with food and drink and is a nice return to family dining in the neighborhood a la the old Hot Shoppes restaurants. See my blogpost on this old neighborhood shopping hub at: http://dreadedtourmaline.blogdrive.com/archive/cm-6_cy-2009_m-6_d-18_y-2009_o-10.html
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