REVIEW: Radio Golf (Round House Theatre)
Preview: Round House’s last Bethesda-based production of their 22-23 season is August Wilson’s Radio Golf, the tenth and final entry in his legendary Pittsburgh Cycle. Radio Golf continues the themes of Black America in the face of industrial and cultural change specifically within his hometown, this time set in the 1990s. This was actually the first Wilson play I’ve seen in person, but I was familiar with his others such as Fences, Ma Rainey’s Black Bottom, and Jitney. I last saw a show at Round House in 2017 (seeing How I Learned to Drive for class), so it was nice to be back!
Acting: While not trying to distract from the compelling performances of the remaining cast members, Craig Wallace is at his best as Elder Barlow. The DC theatre staple, last seen in STC’s King Lear, commands the stage with a refreshing dual threat of dry comic relief and heartfelt emotional presence. Supporting him in the wings is Kevin Mambo as earnest local rapscallion Sterling Johnson, whose initial humor makes way for genuine character reflection at the climax of the show. He may not be the most important face in the cast, but his performance stuck with me more than expected. Jaben Early as Harmond Wilks, the protagonistic wannabe mayor, is strong, but along with his Wilk’s spouse Mame (Renee Elizabeth Wilson), are the weakest links within the cast. Despite this, I can tell they have the talent to be up there and normally would command any play they join. It’s just mostly unfortunate they join such an already scene-stealingly-good cast, rounded out by the suave and energetic Ro Boddie as Roosevelt Hicks. The spliy-complimentary colors of the personalities of he and Raymond that are telegraphed from the first scene is balanced and captivating, and makes for an even more invigorating confrontation at the show’s end. 8/10
Production: The entire play takes place within one office near the development site in Pittsburgh’s Hill District, so it was crucial to show the passage of time and changing moods through lighting, which is smartly done by designer Harold F. Burgess II. Meghan Raham cleverly uses office props and wall decorations to support the story as well - though glaringly, the backdrop picture of the neighborhood that was visible through the windows was a very noticeably pixelated image, as if it had been blown up without any care as to preserve visibility. Since a few interactions happen outside of the office and is intended for the audience to pay closer attention to that stage element, I feel more care could have been put into it. 7/10
Book: Wilson’s critique of capitalism as tool for manipulation of American minorities was in full force during this piece, and is explored particularly well. Roosevelt Hicks has a naïve chutzpah reminiscent of my own father — even down to the costumes, done by the great Moyenda Kulemeka — who would play into a business-first mindset throughout my life that I didn’t always agree with. Conversely, Harmond’s stern optimism as his crux creates a salty-sweet combination of character depth that is gripping and always leaves you wondering how it will play out. Even the supporting characters, Sterling Johnson and Elder Barlow, bring a ton of class differences and street smarts to the cast without spoiling the broth. Ironically, it’s Mame Wilks, Harmond’s wife, who I found the least compelling, mainly due to lack of usage. Her presence provided a grounded point of view to the macho commotion in the office, yet is uncharacteristically under-utilized by Wilson, which in my research had seen that he typically writes stronger female roles. The ethos of the story surrounding the House seems balanced, even to the staunchest NIMBYs and YIMBYs in the audience. What I appreciated the most about this approach are the risks from each character involved, and how satisfying it was to see these characters, who had been fighting their battles so hard the entire time, actually commit to their positions despite the consequences. 9/10
VisDev: Intro staging is the sole room of the show, an office near the development. However, it starts empty. This was a clever way of engaging the audience in Wilson’s world right off the bat, as if we were the office (or the neighborhood), laying stagnant and unchanging before the action unfolds in Scene I when Harmond enters with his belongings. The unending beginning suddenly jets forward in time with us along for the ride, as if we never had to suspend our disbelief. Program art is merely a picture of Jaben Early in a suit, with a colorful background of the Pittsburgh skyline. It does give August Wilson if you know his work already…but what else? It tells you nothing of the actual content of the play, merely that it probably is an exploration of the black experience in that city. I would have been a little more creative with it, but I appreciate including an actual cast member on the front. 5/10
