Review: BNS PRODUCTIONS' SEASON OPENER, KING HEDLEY II at Arts Factory

This past weekend, BNS Productions—the only African-American repertory theatre company in Charlotte, NC—made its venue debut at the Arts Factory Black Box Theatre, located on the historic West Side of Charlotte, NC.

Their season opener, King Hedley II, is the ninth play in The Pittsburgh Cycle by August Wilson—a ten-play collection set in Pittsburgh’s Hill District that explores the African-American experience throughout the 20th century. BNS Productions has committed to producing all ten plays in this cycle, with King Hedley II marking their seventh installment.

Set in the 1980s, King Hedley II centers on a man battling internal “demons”—manifesting as anger and mental instability—which fueled criminal behavior and shaped a hardened persona. His family, love interest, and friends witnessed this daily, often tolerating it as if it were the norm. The symbolism of King Hedley (Jonathan Caldwell) planting seeds in poor soil reflected his sensitivity and his desire to cultivate growth in a society that expected very little of him.

Here is a man with dreams—such as opening a video store with his friend Mister (Andrew Monroe)—yet lacked the resources to bring it into fruition. Hedley is a man with heart, but the weeds of oppression have stifled his softness and hardened his exterior.

This was my first time seeing King Hedley II; it differs from August Wilson’s other works in its stylistic approach, relying heavily on long monologues as its primary mode of communication. As a playwright, I’m not opposed to a prolonged monologues (I have written several)—provided it is delivered with poignance and passion. It is truly an asset to a character when an actor can command the attention of an audience, it all comes down to delivery.

One of the aspects I admire most about August Wilson’s work is his ability to illuminate the complexity of the struggles faced by African-American men, as well as the societal pressures that often prove more intense and biased (in my opinion) than those experienced by other racial groups. These pressures frequently lead to difficult—and sometimes tragic—choices, including crime and violence, which can become psychologically justified. King Hedley II confronts generational trauma, parental conflict, and systemic oppression head-on.

For example, the tension between King Hedley and his biological mother, Ruby, (Myneesha King) is deeply rooted in resentment and often spills over into disrespect. Ruby relinquished her parental responsibility of raising her son to her sister in pursuit of an unstable, uncommitted relationship—one that ultimately failed. That emotional abandonment manifests through Hedley’s anger and unresolved pain.

The strongest element of this production is undoubtedly its casting. Major kudos to the casting director—I believed to be Rory D. Sheriff—for assembling a perfectly aligned ensemble.

In the lead role, Jonathan Caldwell delivers a compelling transformation. Previously seen in more romantic roles in BNS Productions as performed in Boys To Baghdad, Speakeasy, The Piano Lesson, and Jitney, Caldwell steps boldly into Hedley’s volatile, hardened persona. His portrayal of a man on edge—burdened with anger and desperation—is both convincing and impactful.

Toi Aquila R. J. (Tonya), a seasoned performer, once again brings excellence to the stage. She embodies the devoted girlfriend who loves beyond flaws and dysfunction—a portrayal that reflects the lived realities of many African-American women in the 60s, 70s, and 80s. While her loyalty is admirable, it also raises important questions about the normalization of dysfunction.  These women had nerves-of-steel and embraced the ability to “stand-by-their-men” with ease.

Andrew Monroe (Mister), a newcomer to BNS Productions, performed with the same excellence and ease of a longtime cast member. As Hedley’s loyal friend, he captures the essence of unwavering brotherhood. Even within their “ride-or-die” friendship, Hedley’s unpredictability and determination to operate on his own accord remained evident.

Myneesha King (Ruby), another newcomer to BNS Productions, truly “spices up the joint.” Her stage presence, befitting costuming, and fierce delivery are electrifying. I had the opportunity to work with Myneesha in my musical, The Gift, where she portrayed a Bible-toting prophetess, a vast difference from her character here as the sassy Ruby.  This role highlights her impressive range and versatility as an actor.

Tim Bradley (Elmore), a BNS Productions’ mainstay, once again delivers a strong performance. Known for his work in both August Wilson productions and in BNS  original works to include: Be A Lion, Boys To Baghdad, and Speakeasy, Bradley continues to demonstrate his ability to embody complex, often antagonistic characters.

My undeniable favorite character was Stool Pigeon, portrayed by Tone-X who is also a comedian by trade. Previously seen as Wining Boy in The Piano Lesson, Tone-X elevates his acting craft to another level here. His delivery of lengthy monologues is executed with clarity, precision, and emotional depth. While his comedic instincts shine through, his performance transcends humor—offering a beautifully-balanced portrayal rich in nuance. Simply put: a star is born.

Adding to this stellar cast is the powerful plot twist at the conclusion of King Hedley II. While some level of violence is anticipated, the way the story ultimately unfolds is both shocking and deeply impactful.

Kudos, posthumously, to August Wilson for crafting such a profound work. And kudos to Rory Sheriff, Artistic Director of BNS Productions for executing August’s vision with excellence—ensuring that his legacy continues to resonate with audiences for generations to come.