Seattle Review: Radio Golf

In most reviews and articles discussing the work of August Wilson, you are sure to read the phrase "African-American Playwright" over and over. While August Wilson's 10-play cycle brilliantly chronicles nearly one hundred years of African-American life, there is universality to his work that breaks all color lines. August Wilson wasn't just a great African-American playwright; he was simply a great playwright . His work has left an indelible impression on people of every cultural background, and his presence in the world is greatly missed.

It is hard to imagine the world without a new August Wilson play every few years. Fortunately, Radio Golf is as wonderful and important as the previous plays. It is even more bittersweet that Seattle Repertory Theatre, located in Wilson's resident city, has chosen to produce his final play. Under the competent direction of Kenny Leon, this Radio Golf nears perfection.

Wilson's unrivaled knack for combining realism and theatricality is fully realized in his final work. Surrounding the redevelopment efforts of Pittsburgh's Hill District, Radio Golf questions how to preserve the past while still moving forward. Real estate entrepreneurs Harmond Wilks (Rocky Carroll) and Roosevelt Hicks (James A. Williams) find their plans to tear down an old house thwarted by the arrival of Elder Joseph Barlow (Anthony Childress). Old Joe claims ownership of the property, and Harmond faces a moral dilemma. He must choose between morals and money, and a rift is soon formed with money hungry Roosevelet, and Harmond's sensible wife Mame (Denise Burse).

With Radio Golf, Wilson leaves his audience thinking while peppering the play with his unique humor. The many comic moments of the piece make the dramatic moments even more powerful. Wilson switches back and forth quickly between the light and the heavy, never allowing his audience to stop thinking about the overlying themes of the piece. Radio Golf deals with preservation, education, segregation, community, and betrayal, but never makes its messages too obvious or contrived. Wilson's style, complimented by Leon's touch, creates an evening that lingers in the memory without pushing too much.

Leon's easy hand allows Wilson's text to unfold naturally. Instead of overloading his production with flashy directorial "tricks", Leon focuses his time on making each relationship as layered and truthful as possible. With a simple glance or touch, you are made aware of how these people feel about each other. This close attention to detail allows an already strong play to reach another level. This production is drama, comedy, and mystery all rolled into one fantastic evening.

Leon's company is uniformly strong. Rocky Carroll is superb in portraying Harmon's struggle between what is right and what is profitable. He gives Harmon a firm moral backbone, showing that following your heart is often more rewarding than monetary gain. He has electric chemistry with James A. Williams, who plays golf aficionado Roosevelt with fierce determination. They take us on a journey of a friendship that may have run its course, as contrasting goals face off. Roosevelt uses his minority status for gain, while Harmon remains true to himself, and the audience is allowed to find right and wrong in each side. Both men allow Wilson's emotions to reach full fruition, never failing to play the truth of each scene.

Anthony Chisholm is pitch-perfect as the headstrong Old Joe. He latches onto the mystery of the character, carefully following Wilson's sketch, and then taking it beyond. Old Joe seems to be crazy at first glance, but under Chihsolm's capable hands, we soon begin to realize that he is the wisest of them all. Here is a man struggling to keep his past in tact, and hold on to what is rightfully his. Chisholm has a ferocious stage presence. Every word he speaks is delivered with the utmost care and importance.

Denise Burse and John Earl Jelks round out the cast with strong supporting roles. Burse shows us a woman who isn't afraid to speak her mind, and fights for what she feels in sensible. Jelks is great as Harmond's old schoolmate Sterling Johnson, a man who has little money but more smarts than he is given credit for. He shows us that social class and intelligence often have no relation.

David Gallo's stunning set design adequately shows a neighborhood desperately in need of savior. His crumbling office building looks ready to collapse, with broken windows and ruble aplenty. The use of a raked stage makes the structure look as if it is going to topple onto the audience, creating tension before the first word in uttered. Susan Hilferty's costumes constantly remind us of the year (1997), and Donald Holder's lighting gives the dark and light moments of the play the punch they need. Dominic CodyKramers' funky sound design allows each scene to transition seamlessly, while keeping true to the period.

It is hard to imagine a more suiting and touching tribute to August Wilson than Seattle Rep's Radio Golf. Great attention has been paid to execute Wilson's vision. His themes reach their full fruition, as we see characters struggling to keep their identity and integrity in a changing world. Wilson's words are universal, and his style is unrivaled. Kenny Leon and his brilliant company of actors have put their heart and soul into this production, and it pays off like gangbusters. August Wilson once said: "All you need in the world is love and laughter." Seattle Rep's Radio Golf is full of the love and the laughter of Wilson, and his presence is felt in every breath. Wherever he is, he is looking on with a smile of approval on his face. He is greatly missed, but is far from forgotten.

Radio Golf plays runs at Seattle Repertory Theatre through February 18th. For tickets call (206) 443-2222, or visit www.seattlerep.org

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