RADIO GOLF, a play by August Wilson
The star of Radio Golf, the play at the Cort Theatre, New York, is the play itself. The acting is solid ensemble work but the actors shine because the characters and dialogue are incisive and genuine. The drama is well structured in the traditional manner, largely an African American male perspective, and it is politically and socially correct -- it makes its several valid statements under the fine direction of Kenny Leon. For whites it offers a wide window into the current black world today. For blacks it tells the truth, like it is –I say this because of the vociferous reaction of half the audience who were black and gave a standing ovation at curtain call.
Radio Golf is the last play – the tenth – in August Wilson’s cycle describing the African American experience in the United States; he wrote one play for each decade of the 20th century. Two of his plays won the Pulitzer Prize, Fences and The Piano Lesson. Wilson died of cancer in October 2005 at age 60.
It is 1997. Some African Americans have become successful, have entered the middle class and have taken on positions of importance and responsibility, while others have not been ready or able to move ahead, and suffer the consequences with humor, common sense and good natured resignation.
Harmon Wilks (Harry Lennix), upwardly mobile due to advantages inherited from his hard working father, has all the qualities and forces needed to be voted in as mayor of Pittsburgh. He is moving into the business passed to him from his father, the Bedford Hills Redevelopment, Inc. storefront office that will also serve as his campaign headquarters in the less than desirable Hill District because that’s where he grew up. His wife, Mame, (Tonya Pinkis) grew up there too, but she is appalled he would choose this locale, his roots, rather than into a more upscale environment.
Once Wilks becomes mayor, he intends to redevelop the entire community by constructing new buildings and stores. But he soon learns from one of the colorful neighborhood characters who walks in unexpectedly that he mistakenly bought a house illegally -- a house he’s intending to tear down in order to erect a high rise. This solid brick house with ornate décor represents the culture of the community and it turns out that it used to be lived in by his Aunt Esther and now belongs to that neighborhood character who walked in unexpectedly.
From there the plot thickens, contrasting the disparity between those who have and those who have not, pitting the values of community life and relationship against unprincipled moneymakers and ambition. Some blacks that are able to follow the path to money and leisure, are enabled to own cars and experience the subsequent vandalism and theft, to take up golf and even to become stars like Tiger Woods. "I want my kids to know what it’s like to hit a golf ball," submits Roosevelt Hicks (James A. Williams). That feeling, he says, is what it means to be a man. His pursuit drives him to align himself with whites who "use" him in developing a radio station on which he has a talk show on golf, while Sterling Johnson (John Earl Jelks), a "have not," tells a story about once coming into $165 and spending it all in one day. To his thinking this was a perfect day but he importunes, "A perfect day is the saddest day, because it comes to an end."
In the climax our hero is forced to choose between his inherent values and political ambition – a choice that costs his wife her one opportunity for a high-powered job and her wholehearted support of him. We become sensitized to the diverse reflexes of African Americans who are on the cusp of poignant change.
Radio Golf is the last play – the tenth – in August Wilson’s cycle describing the African American experience in the United States; he wrote one play for each decade of the 20th century. Two of his plays won the Pulitzer Prize, Fences and The Piano Lesson. Wilson died of cancer in October 2005 at age 60.
It is 1997. Some African Americans have become successful, have entered the middle class and have taken on positions of importance and responsibility, while others have not been ready or able to move ahead, and suffer the consequences with humor, common sense and good natured resignation.
Harmon Wilks (Harry Lennix), upwardly mobile due to advantages inherited from his hard working father, has all the qualities and forces needed to be voted in as mayor of Pittsburgh. He is moving into the business passed to him from his father, the Bedford Hills Redevelopment, Inc. storefront office that will also serve as his campaign headquarters in the less than desirable Hill District because that’s where he grew up. His wife, Mame, (Tonya Pinkis) grew up there too, but she is appalled he would choose this locale, his roots, rather than into a more upscale environment.
Once Wilks becomes mayor, he intends to redevelop the entire community by constructing new buildings and stores. But he soon learns from one of the colorful neighborhood characters who walks in unexpectedly that he mistakenly bought a house illegally -- a house he’s intending to tear down in order to erect a high rise. This solid brick house with ornate décor represents the culture of the community and it turns out that it used to be lived in by his Aunt Esther and now belongs to that neighborhood character who walked in unexpectedly.
From there the plot thickens, contrasting the disparity between those who have and those who have not, pitting the values of community life and relationship against unprincipled moneymakers and ambition. Some blacks that are able to follow the path to money and leisure, are enabled to own cars and experience the subsequent vandalism and theft, to take up golf and even to become stars like Tiger Woods. "I want my kids to know what it’s like to hit a golf ball," submits Roosevelt Hicks (James A. Williams). That feeling, he says, is what it means to be a man. His pursuit drives him to align himself with whites who "use" him in developing a radio station on which he has a talk show on golf, while Sterling Johnson (John Earl Jelks), a "have not," tells a story about once coming into $165 and spending it all in one day. To his thinking this was a perfect day but he importunes, "A perfect day is the saddest day, because it comes to an end."
In the climax our hero is forced to choose between his inherent values and political ambition – a choice that costs his wife her one opportunity for a high-powered job and her wholehearted support of him. We become sensitized to the diverse reflexes of African Americans who are on the cusp of poignant change.
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