Review: SEVEN GUITARS at TAG

Chronologically landing right smack in the middle of renowned playwright August Wilson’s legendary Century Cycle plays, Seven Guitars follows the lives of seven African-American characters living in Pittsburgh’s Hill District in 1948. Fittingly, TAG staged a production of Wilson’s 1930s offering, The Piano Lesson, in the fall, and will be presenting Fences (set in the 1950s) this coming May. It an impressive undertaking on TAG’s part to bring the Century Cycle to life here in Hawai’i, considering the entire state boasts less than a 5% Black population, which arguably makes this ambitious undertaking even more important. Art, like life, “finds a way”, and I am grateful that these plays are able to find a life here, to shine a light on the lived experience of a community that very rarely gets the spotlight here on the ‘āina.

Director Marc “Coop” Cooper has orchestrated a good, solid interpretation of Wilson’s work, and his love for this piece is evidenced by the fact that he has returned to direct it after making his stage debut as Red Carter in the 2012 production, also at TAG. Also returning to the world of Seven Guitars with him are fellow castmates Lillian Jones (Louise), Derrick Brown (Hedley), and Terry Bookhart (Ruby), all three of whom delivered excellent performances. Rounding out the cast are Brian Burns (Red Carter), Vernon “Mac” McMillan (Canewell), Courtney Cornis (Floyd Barton), and a delightful debut by newcomer Skyler Moore (Vera Dotson). Oh, and I can’t forget to mention the real stars of the show, Red Sanford the rooster and Pearl Brown the hen, both of whom stole the audience’s hearts and got a well-deserved round of applause at curtain call. Can’t wait to see what’s next for them! Perhaps an all-poultry revival of Oklahoma!?

The small set, designed by Laurie Tanoura, was quite effective, providing multiple levels for some dynamic staging choices. However, the actors might need to be reminded that, in such a small venue, their voices carry, and they could be heard sporadically throughout the show talking in the wings. The sound design was laudable, and I was especially impressed by the use of menacing strings to underscore tense moments, though it did sometimes drown out the actors. The interstitial music choices were also cleverly chosen; all period-appropriate selections that underscored the themes of the scenes, up until the curtain call when a modern tune brought us fully back into the present, reminding us that there are still far too many parallels between life in 1948 and 2026. There was fantastic use of projections throughout. From vintage footage of 1940s Chicago, to some inventive video illustrating the violent murder described by Ruby, to the actual footage of the Joe Louis boxing match at Madison Square Garden, synced perfectly with the radio broadcast the entire ensemble is listening to live, designer David Hunt was able to add a really provocative sensory experience to the show.

I was quite impressed by Ms. Moore’s performance as Vera, especially considering this is her first theatrical outing. Any nerves or discomfort she may have felt actually worked quite well for the character, and her soft- spoken and gentle nature was lovely to watch, providing quite the contrast for her playboy beau, Floyd. Mr. Burns as Red Carter was a convincing hustler in a cheap suit and a gold tooth, and judging by the audience’s reaction, I gather that everyone in attendance knows a Red Carter in their own family tree. Ms. Bookhart as Ruby Was sultry yet powerful in her femininity, though I did have difficulty hearing her clearly throughout the show. And...fashionable...though Ruby is, I have to question Costume Designer Robyn Grant’s sanity a bit in giving the green light to Ruby’s funeral dress that would be scandalous in church today, not to mention in 1948. Ms. Jones as Louise was a delight to watch, and it is easy to see the love she still has for this role, even 14 years on. She plays Louise with a hard-boiled tenacity, no-BS attitude, and a practicality that felt grounding for the entire ensemble. Mr. McMillan as Canewell had an interesting take on the character, though his multiple line flubs were difficult to overlook. The nerves and excitement of opening weekend can certainly be blamed for missing a line or two, but Mr. McMillan's count was higher, and to get on the stage unprepared like that felt like a lack of respect for the material, the audience, and his fellow actors.

As Floyd “Schoolboy” Barton, Mr. Cornis’s performance, much like his AI- generated bio in the program, was serviceable but one-dimensional. His Floyd was appropriately arrogant and hot-headed, but Mr. Cornis never really let us see his vulnerability or his moments of weakness. That being said, I cannot overlook the fact that, despite playing a character whose guitar skills are meant to be legendary, Mr. Cornis was unable to play even a single chord on the guitar during the “jam session” scene. It was difficult to watch (and hear) as he simply let his left hand hover over the strings while haphazardly strumming. Apparently a guitar coach was brought on board for this production; I sincerely hope their tutelage of Mr. Cornis was an exception and not the rule.

Finally, Mr. Brown as the Haitian chicken sandwich vendor King Hedley was absolutely mesmerizing. He demanded your attention with every word, every gesture, every wide-eyed glare into the middle distance, and even somehow in his moments of silence. Hedley’s dreams of grandeur and what he believes is owed to him, amidst the heartbreaking tragedy and illnesses of his reality, created a portrait of a very complex man that I absolutely could not get enough of. His “the black man is not a dog” soliloquy was iconic, which made the subsequent interaction with Ruby all the more startling and powerful.