The presentation of August Wilson’s King Hedley II at the Arena Stage is, much like the play itself, daring. Hedley takes place on one stage with no props—save for the occasional chair, drink, or gun. Many playwrights shy away from the intimidating task of crafting a story that eschews typical scene changes or pyrotechnics. Wilson’s ambitious script is brought to life by a talented cast, and Hedley triumphs because of it.
Set in 1985, King Hedley II’s story is nothing unique: the eponymous King returns home from time in a penitentiary and tries to get his life back on track. The progression of the story is almost non-existent because Wilson chooses to focus on the characters more than any sort of plot. The play is character-driven; audience members hoping for an engrossing story will be sorely disappointed.
There is little to no background given at the beginning of the play, which leaves the uninformed viewer at a loss as to the plot for much of the first half. Even if the connection isn’t made, the natural charisma of the actors draw in audience members confused by the story.
The play’s limited scope allows the audience to connect with what happens on stage, as the all-black cast shines. Bowman Wright, who portrays the play’s protagonist, is especially noteworthy. His performance perfectly mixes the desperation and bitterness that encapsulates his character. Wright’s use of volume is particularly effective, highlighted by a brutal and loud monologue, that concerns the struggles the King faced prior to and during his time in jail. Wright knows exactly when to rein his performance in, and his natural intensity provides the play with an emotional core.
Accompanying Bowman is Kenyatta Rogers, who plays the cocksure Mister, a close friend of King Hedley. Mister is an interesting foil to King; brash, arrogant, and extremely loose with his money, Mister lacks King’s weariness, and is a valuable source of comic relief. Veteran André de Shields, meanwhile, steals every scene he’s in as the proselytizing preacher Stool Pigeon, whose ridiculous prophecies about the wrath of God and the end of the world repeatedly drew major laughs from the audience.
The comic relief is much-needed early in the play in order to prevent the extremely depressing themes of the story from overwhelming the audience. Wilson does not flinch from depicting the struggles of blacks in 1980s America, and many of the comments he makes about discrimination and stereotyping ring frighteningly true today. In this way, the performance is well-timed.
Watching the play is an ambitious undertaking, as it clocks in at a hefty three hours. But the script manages to make every moment count, and the character dynamics convey the messages that Wilson is trying to send about racism, both past and present. Ultimately, King Hedley II is frightening and provokes both laughter and thought. The power of this production is a testament to expert writing and incredibly talented actors, which will leave the audience shaken to its core.
Arena Stage at the Mead Center
Feb. 6th – Mar. 8
arenastage.org
