King Hedley II at the Black Rep through May 14
By Kenya Vaughn
For the St. Louis American
The minute Ron Himes walked across the stage with his ruthless gaze and defensive swagger, it was obvious that this King is not Martin Luther Jr. From the vicious scar that runs the length of his face to the combat boots on his feet, there is nothing peaceful about King Hedley II.
The title character for August Wilson’s play about a black man living for the city in the 1980’s is almost suffocating with rage. Given the life that ex-con King has led in his 30 something years, there isn’t much to be happy about. His troubles began even before he was born.
King was introduced to the world before he was brought into it, while residing in the womb of a young unwed woman named Ruby in another Wilson play entitled Seven Guitars.
King Hedley II picks up the story several decades later. Ruby is the link between the two plays. An old woman, she now is attempting to make up for lost time and appease her own regrets when she relinquished motherhood for her own selfish motives. Starletta DuPois wore the guilt in her soul on her sleeve as Ruby. She was continually trying to provide for King in his adult years what she forfeited when he needed her most.
The crazy neighbor Stool Pigeon helps Ruby provide historical accounts that bring the audience up to date with regard to what happened after Seven Guitars. Dennis Lebby hits the ball out of the park with his Stool Pigeon, the mentally disturbed but spiritually centered neighbor with his own way of doing things, quoting scriptures one minute and referring to God as a bad mother (bleep) the next.
As in most stories about misguided black men struggling to get a grip, the language and themes of King Hedley II are for mature audiences only.
Although a large part of the role, judging from the dialogue and monologues within the play, there was much more to King than his anger. Himes had the rage element down pat. But it would have been nice to see him let down his guard a bit and show the feelings of hurt, loss, hope, resentment and rejection that King’s wall of anger unsuccessfully attempts to hide.
King Hedley II had a dream, too. A modest one, but his hope to open a video store by any means necessary was a dream nonetheless.
Working with King to make it happen is his right-hand man and literal partner in crime Mister, played by Geoffrey D. Williams. His easygoing and laidback performance was an excellent balance to the rugged King. Williams is a natural and consistent performer and Mister’s instinctive, fumbling charm shined through the survival mode that he has developed in the street.
A.C. Smith was equally delightful as Elmore, the old-school hustler whose quick and silver tongue is only matched in speed by his dice-throwing hand. He is an old flame of Ruby’s that has returned to rekindle the fire.
Elmore’s return was one of the pluses with regards to Wilson’s writing in King Hedley II. Wilson does a magnificent job of conveying their affection and obstacles. He illustrates the rarely portrayed ups and downs of two people enjoying a budding romance in their golden years.
Hedley’s relationship and the issues that surround it are also on display. He constantly struggles to come to grips with losing the love of his life, all the while in the midst of another relationship.
Bianca Laverne Jones effectively and powerfully played King’s lady. Although she is vying against a dead woman for King’s heart, Tonya refuses to support or enable King to continue to live the thug life. Jones showed many dimensions as a 35-year-old grandmother wading through the mistakes of her past and attempting to create a solid foundation for her family.
Although set in Pittsburgh’s Hill District, when the lights came up on Harlan Penn’s set – the littered and dilapidated dirt yard without a blade of grass – it could have been the JVL or other blocks on the North Side that are skeletons of the thriving black communities they once housed.
Costume designer Karen Perry captured 1980’s fashion to the fullest. The brightly colored rayon and the after-five short sets were a perfect touch.
The play was long, though, and some of the monologues dragged. That had more to do with Wilson’s love for words than the actors’ performances.
With its noteworthy performances, amazing set and vibrant costumes, King Hedley II is well worth seeing. It answers questions within the play and questions that may have lingered for anyone who has seen Seven Guitars. At the same time, the play manages to shock and leave the audience wondering what happens next.
King Hedley II at The Black Rep continues through Sunday, May 14th. For ticket information call (314) 534-3810.
