“I
just want to be in the room.” That dream of inclusion, which motivates
Roosevelt Hicks, is at the heart of Radio
Golf by August Wilson. And in this production at Ensemble Theatre, many of
the right notes are struck.
Hicks
is the business partner of Hammond Wilks and they are on the verge of sealing a
deal to gentrify a section of the Hill District in Pittsburgh, an
African-American community that Wilson has explored in many of his plays
spanning the 20th century. Wilks has his eyes on running for mayor
in the 1998 election, and his high-achieving wife Mame is on board for that
ride.
But
during the span of the play, two other characters wander into the realty office
and throw a monkey wrench into the works. One is Sterling, a neighborhood
handyman who, despite his sketchy employment history, seems to have a firm
grasp on the relationship between business and ethics. And the other is Elder
Joseph Barlow, or “Old Joe” as he’s known in the hood, whose family used to own
(or still does?) a house smack-dab in the center of the proposed new
development.
As
always, Wilson’s words are often mesmerizing as he spins out the history of
these characters in dialogue that draws sharp characters. This is particularly
true in the case of Hicks, who has recently partnered with a rich white mover
and shaker, giving Hicks access, in his mind, to the levers of power. He’s
finally “in the room” with the decision makers. Or so he thinks.
As
Hicks, Leilani Barrett makes the most of this young black man on the make,
practicing his golf swing in the office as he dreams of riches and influence.
The stage comes alive whenever he is present. And
the same can be said for Rodney Freeman, since the persona of Old Joe drops
right into Freeman’s exceptional acting wheelhouse. Squinting slyly
and using his cane to punctuate his lines, Freeman’s Old Joe maneuvers Wilks
into viewing the takeover of the Barlow property from a different angle.
In
the challenging role of Sterling, Darryl Tatum is not quite as adept at
navigating the twists and turns of Darryl’s quicksilver anger, which often then
dissolves into an appealing optimism. But he has some telling moments,
particularly in his interactions with Wilks.
The
only performance that feels a bit off-kilter is Kristi Little’s take on Mame,
since this PR pro doesn’t exhibit the polish and edge that one would need in
order to succeed in that field.
Director
Terrence Spivey once again shows he knows how to bring resonant performances
out of a talented cast. And that leads to a staging of Radio Golf that, while not perfect, is thoroughly involving from
start to finish.
Radio
Golf
Through
February 26 at Ensemble Theatre, 2843 Washington Blvd., Cleveland Heights,
216-321-2930.
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