[On
14 December 2012, I published my performance report on the Signature Theatre
revival of August Wilson’s Piano Lesson, one of the most excellent theater experiences I’ve ever had. I noted in passing in that report that I had
seen Wilson’s Seven Guitars, directed
by the same artist, Ruben Santiago-Hudson, at that theater in 2006. (STC devoted its 2006-07 season to the works
of Wilson, who had died in October 2005, as the company and the writer were
planning the retrospective.) Though that
season predates the launching of ROT,
I was writing play reports for a select audience at the time, so I thought it would be an interesting exercise
to reach back into my archive and publish the old report on Seven Guitars, the play in Wilson’s American Century Cycle
that covers the 1940s. Written in 1995, it’s the play that immediately follows The
Piano Lesson in the cycle’s sequence and
is the only play Wilson wrote in the series that’s directly connected to another
one: 1999’s King Hedley II, which
revisits some of the same characters in 1985.]
Well,
Diana Multare, my subscription partner, and I managed to get to see August
Wilson’s Seven Guitars
Friday evening, 13 October, at the Peter Norton Space—but it was touch-and-go
for a moment. We just seem to have bad luck with that show! Our
originally-scheduled performance last month was canceled at the last minute—we
had actually gotten to the theater before we learned—because a member of the
cast got sick and Signature Theatre doesn’t use understudies. Friday
night, an actor had an accident on stage (or just off stage—I’m not sure where
it happened exactly) and apparently gave himself a small cut just above his
right eye. They had to stop the scene—one early in the show—so he could
exit and have it attended to backstage. Then they returned about 15 minutes
later, rewound a few beats, and picked up again. Since I haven’t seen any
other performances, I don’t have the basis for a real judgment, but as far
as I could tell, the work was as strong as it probably would have been if they
hadn’t had the mishap and the interruption.
I
suppose that’s the big “news” for this show—the acting (and the directing) was
superb. This was one of the best ensemble casts I’ve seen in a very long
time—everyone was solid, alive, and in touch with one another; no one seemed to
be overshadowing anyone else, and they were all in the same play. I’ll
single out two performers, but mostly because of their characters—though, of
course, it’s important to add that the actors communicated those
characters exceptionally. First, Kevin T. Carroll, who plays
Canewell, just seemed to be in a kind of special spotlight (not
literally, of course). I can’t really say why his performance stood out
for me—he was just real, though so were his comrades, and at the same time,
special. I’m going to take a wild-ass guess here, but what it felt like
to me was that Carroll wasn’t doing straight Stanislavsky, with all that inside
work. It seemed as if he was working from some portion of the British
method, which is more technical. Not exclusively—he didn’t come off as
technical. You can often tell when one actor in a cast is
working externally while the rest are working internally. No, what I felt
was that he somehow blended the two techniques so that he enhanced the
Stanislavskian verisimilitude so that his Canewell was more sharply
etched. I don’t even know if that makes any sense. (This is the
role for which Ruben Santiago-Hudson, the director of this revival, got his
supporting-actor Tony.)
The
other actor who stood out was Charles Weldon who plays Hedley. The
character is a little contrived—Wilson makes him slightly nuts so that he can
get away with being oversized and outrageous—but Weldon pulls it off
marvelously. (I will cavil that his accent was a little confusing.
At first I thought the character was West Indian—I saw this play back when it
was on Broadway in ’96, but I don’t recall this aspect of the role—but I
realized from the lines that he’s from Louisiana, and it’s Cajun-spiced
speech—bayou English, I guess (as opposed to Louis Armstrong “Southern
Brooklyn.” It wasn’t a significant problem.) Hedley, of course, is
the character that connects to the ‘80s play in the series (Seven Guitars is set in
1948), King Hedley II.
(One of the women in Seven
Guitars is pregnant, and even though Hedley—whose actual first name
is King—isn’t the father, the woman says she’ll name the child after him; that
would make the child ”King Hedley II.”)
By
the way, there’s a cop series on now, The Wire on Showtime cable. The
actor who plays Floyd Barton, the focal character of Seven Guitars, is Lance
Reddick who plays Lt.—now Capt.—Daniels in that show. (He’s the actor who
had the accident at the start of the performance.)
Seven
Guitars
is really a study in Wilson’s work. He writes terrific
characters—characters that actors can just devour—and he captures a milieu,
both a moment in time and a place in the world, that sparkles and shines.
Santiago-Hudson and the actors nailed this just about perfectly, I’d say—with
tremendous assistance from Richard Hoover’s set. (I remember
complaining about an Arena production of Awake and Sing! a while back that the
cast didn’t seem to be living in the play's world. That was decidedly not
true of this troupe.) Wilson also writes soaring dialogue that is
absolutely vernacular prose poetry. It sounds both natural
and extraordinary at the same time. And he conjures wonderful
scenes, little moments of truth and life that are simply magic on stage.
But his plots are rudimentary and meandering. He doesn’t tell
stories—which is certainly his right as a dramatist; he shoots
word-photographs, snapshots of a certain world. It can get a little
frustrating watching as he lets his plays go off on little side trips or stay
put for a little extra while. (Wilson’s plays aren’t short. He’s
also not an editor.) And even when his plot does come to fruition, it’s
not necessarily a surprise or a particularly significant event. The
journey, not the destination, is his focus. But that can be hard on the
spectator, I think. (I remember saying to my companion after seeing Fences with James Earle
Jones that if it weren’t for Jones’s performance, the play wouldn’t be very
interesting because so little actually happens. I can’t prove it’s
related, but shortly after Jones was replaced by Billie Dee Williams on 2 February
1988, the play closed—26 June.)
One
costume question, however: When did seamless stockings arrive on the
market? In one scene, one of the women strikes a deliberately provocative
pose and asks, “Are my stockings straight?” But they were seamless, so
how could anyone really tell? In 1948, wouldn’t women still have been
wearing stockings with seams? Small point.
In
the end, though, I’m very glad I managed to see the production. It takes
an exceptional production to overcome Wilson’s dramaturgical problems, and this
one qualifies, no question.
The
next Wilson at the Signature, which I’m not seeing until December, is Two Trains Running, which
I also saw on Broadway (with Laurence Fishburn). I’ve heard that the
regular run was sold out within a few days of opening the sales to the public
(since Diana and I subscribe, we get advanced notice to book our seats), the
run was extended, and the extension is sold out. (The regular runs are
all $15 seats this season due a subsidy the Signature got. The
extensions, however, go for $55 a pop.)
King Hedley II is the third play in the season, and I haven’t
seen that one before. (Actually, I’ve been expecting some theater to
announce a presentation of Wilson’s complete cycle since his death, but so far
no one I’ve heard about has done so. My mom told me, though, that the
Kennedy Center has announced a series of staged readings of all the plays next
year.)
[When I wrote this report, which I sent out on 22 October 2006, I hadn’t established the format I try to use now, which includes, among other elements, a précis of the play’s production history and a survey of the press response. So here’s a little of what’s left out above:
[Seven Guitars premiered on 21 January 1995, at the Goodman Theatre
in Chicago and then opened at the Huntington
Theatre Company in Boston on 15 September. The play débuted on Broadway at the Walter Kerr Theatre on 28 March 1996
under the direction of Lloyd Richards. It
ran for a total of 188 performances, closing on 8 September, winning the 1996
New York Drama Critics’ Circle Award for Best Play and garnering nominations
for the 1995 Pulitzer Prize for Drama, the 1996 Drama Desk Award for Best Play,
and the 1996 Tony Award for Best Play. Seven Guitars was revived at STC in
the above-reported staging, which started in previews on 31 July 2006 and ran
from 24 August to 7 October. The
production won a 2007 Obie Award for Roslyn Ruff, who played Berniece in The Piano Lesson, for her performance as Vera.
[In the New
York Times, Ben Brantley wrote that the “rich,
music-drenched drama” was revived “with the intimacy and warmth of a fraternal
embrace” by director Santiago-Hudson and a cast of “seven ensemble members
whose characters you come to know as if you had been seeing them every day for
years.” Brantley summed up his
assessment by saying that “this production could scarcely be bettered as a
reminder of the life force that courses through every word.” Joe Dziemianowicz called the revival “superb”
in New York’s Daily News, staged “with
assurance” by Santiago-Hudson and Frank Scheck of the New York Post wrote
that Santiago-Hudson “provided a perfectly pitched production” for the play’s “diffuse
narrative [which] is rambling and unfocused” but “features rich dialogue and
characterizations, and displays a texture and authenticity rarely seen.” Michael Feingold of the Village
Voice reported that Santiago-Hudson “directed
this revival with colloquial ease and speed, steering carefully past the
temptation, ever present in Wilson's scripts, to turn oratorical.” In Variety, David Rooney asserted that “while Santiago-Hudson has a firm hold on
the language and an elegant sense of stage composition, his weaker narrative
and thematic grasp point up the play's flaws.”
Time Out New York’s David Cote
declared that “Santiago-Hudson’s magisterial but exuberant production
revels in bone-deep, heartfelt performance and the infectious, stirring
musicality” but
in New York
magazine, Jeremy McCarter demurred that
STC’s Seven Guitars was only “a sometimes gratifying new
revival” because, he pronounced, “a really satisfying revival needs something
close to perfection—closer than this, anyway.”
[The STC August Wilson Season went on to present Two
Trains Running (7 November 2006-28
January 2007), the 1991 play that’s set in 1969, and King
Hedley II (20 February-22
April 2007). I have reports on both of those
performances as well, of course, and I may post them on ROT
at some future point as it seems appropriate or interesting. As Fats Waller famously used to say: “One never
knows, do one?”]
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