August Wilson, one of, if not the most importat voices for African Americans in world theatre wrote "King Hedley II" over twenty years ago as part nine of his Pittsburgh Cycle. Sadly, the message seems as current as it may have sounded in 2001. Ironically, the name of a 'rich man' "Mellon" comes up just as another rich Mellon currently is stirring the political pot today.
As King Hedley II, Aaron Jennings shares the frustration of bunping up against bureaucracy , even at Sears where he has a receipt for photographs that Sears can't or won't find. Seven years in the clink have soured him as he struggles to win back his pregnant wife, Tonya (Kacie Rogers), who has issues of her own.
The broad scope of this play with stirrig performances features AAVE (African American Vernacular English) or Ebonics, which for me is slightly problematic. The language of the times and the language that is specific to Wilson's characters is musical in its rhythms and specific energy .
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| Christian Henley, Gerald C. Rivers, Ben Cain, Aaron Jennings Photo by Craig Schwartz | Th |
The depth of Wilson's storyteling reaches into the heart of how a strong spitit and loss of self.... to a degree... builds to desperate acts for a man who wants to do the right thing, but is frustrated by the marginal opportunities afforded to a thrity something ex-con. A feeling of Steinbeck permeates the individuals who populate King's existence as he struggles to sort out a life. His heritage has left him with Ruby (Veralyn Jones) whom he resents. Parallel stories with slick as slick can be Elmore (Ben Cain) wooing Ruby relentlessly and a questionable 'side hustle' that King has with his crafty pal, Mister (Christian Henley) are dashed off. .
Most impressive as a sort of Greek chorus, the soothsayer, Stool Pigeo (Gerald C. Rivers) opens the show dramatically: punctuating his introduction with magnificent drumming... Later on, his juju includes tearful mourning as he buries a black cat with the belief that his ritual. when sealed by blood, will resurrect the animal.
Gregg T. Daniel's direction on the impressive ANW thrust stage is filled with movement that ebbs and flows with stage pictures that engross the audience. At times the energy is electric.
Efren Delgadillo Jr's magnificent set allows for broad gestures and intimate moments with over amped.. in a good way, lighting design by Brandon Baruch setting mood.
I am late to the party, but hope that folks who are still waiting to see this play will find a time and go.
CAST:
Aaron Jennings: King.
Veralyn Jones: Ruby
Kacie Rogers: Tonya;
Christian Henley: Mister.
Ben Cain: Elmore
Gerald C. Rivers: Stool Pigeon.
The creative team includes scenic designer Efren Delgadillo Jr; lighting designer Brandon Baruch; sound designer Jeff Gardner; costume designer Mylette Nora; wig and makeup designer Shelia Dorn; properties designer Stephen Taylor; and dramaturg Dr. Miranda Johnson–Haddad. The production stage manager is Taylor Anne Cullen, with Arielle Hightower
Written by August Wilson
• Directed by Gregg T. Daniel
• Starring Ben Cain, Christian Henley, Aaron Jennings, Veralyn Jones, Gerald C. Rivers, Kacie Rogers
• Presented by A Noise Within, Geoff Elliot and Julia Rodriguez-Elliott, producing artistic directors
WHEN:
Previews March 31 – April 5
Performances April 6 – April 28
• Wednesday at 7:30 p.m.: April 3 ONLY (Preview)
• Thursdays at 7:30 p.m.: April 4 (Preview); April 11*; April 25 (dark April 18)
• Fridays at 8 p.m.: April 5 (Preview); April 12**; April 19**; April 26**
• Saturdays at 2 p.m.: April 13; April 20, April 27 (no matinee on April 6)
• Saturdays at 8 p.m.: April 6 (Opening Night); April 13; April 20 (no 8 p.m. performance on April 27)
• Sundays at 2 p.m.: March 31 (Preview); April 7***; April 14**; April 21, April 28
*The performance on Thursday, April 11 is “Black Out Night,”
an opportunity for an audience self-identifying as Black to experience
the performance together; tickets include a post-show reception;
non-Black-identifying patrons are welcome to attend, or to select a
different performance.
**Post-performance conversations with the artists take place every Friday (except the preview) and on Sunday, April 14.
***A one-hour INsiders Discussion Group will take place on Sunday, April 7 at 12:30 p.m., prior to the matinee performance (separate admission: $25).
In addition to the above dates, four student matinees will take place on weekday mornings (April 10, April 17, April 18 and April 24) at 10:30 a.m. Interested educators should email education@anoisewithin.org.
WHERE:
A Noise Within
3352 E Foothill Blvd.
Pasadena, CA 91107
TICKETS:
• Tickets start at $29
• Student tickets start at $18
• Wednesday, April 3 and Thursday, April 4 (previews): Pay What You Choose starting at $10 (available online beginning the Monday prior to that performance)
• Discounts available for groups of 10 or more
HOW:
www.anoisewithin.org
(626) 356-3100
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