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Timely and thoughtful
August Wilson's last play, 'Radio Golf,' navigates the political landscape with humor and resonance

by Jeanie Forte

TheatreWorks' second show in its 2008-09 season brings us the regional premiere of the final play in August Wilson's ambitious play cycle, in which he has chronicled the African-American experience in each decade of the 20th century.

Written just months before Wilson's death in 2005, "Radio Golf" captures the 1990s indelibly, detailing challenges in the American political and social landscape that are still playing out today.

The plot centers on Harmond Wilks (Aldo Billingslea) — a real estate mogul and would-be mayor of Pittsburgh — wheeling and dealing to secure the final permits for a multi-million-dollar development in Bedford Hills, the poor (and black) part of town in desperate need of rejuvenation. While the planned complex includes a Whole Foods Market, Barnes & Noble and Starbucks, it also means destruction of a particular house, at 1839 Wiley — and the contention over this house and its history becomes a focal point for Wilks' emerging consciousness.

Wilks' wife, Mame (C. Kelly Wright), and his business partner, Roosevelt Hicks (Anthony J. Haney), at first prop him up and remind him of his obligations to the development project, but then begin to chastise and abandon him as he insists more and more on doing the "right" thing.

Thrown in the mix are two lower-class black men, Sterling Johnson (L. Peter Callender) — a one-man unionist surviving on low-level odd jobs and handyman work — and Elder Joseph Barlow (Charles Branklyn), who claims ownership of the house in question and who challenges Wilks' preconceptions about race and class every time he opens his mouth.

There are some plot twists along the way, as Wilks journeys from his work within the system to taking a stand outside of it. But the political landscape is quite real, and the complexity of culture and identity couldn't be more palpable. Wilson pulls no punches here: Just when you think you have it figured out, and know who's side you're on, he hands you a different perspective, giving you an increasingly large and frustrating puzzle to deal with. And being on the inside of the puzzle makes it difficult indeed to sort out, to put together or simplify.

The two culminating monologues, delivered by Wilks and Hicks, are stunning in their delineation of perspectives marked by difference in priority and, ultimately, identity. Who is the contemporary black American to emulate, and what does it mean to assimilate? Why are these still even issues in the late 20th century, even today? You may be surprised, or puzzled, or find yourself nodding in agreement and then turning your own agreement on a dime in the next minute.

These are not easy issues, and they couldn't be more timely, articulated as they are within a political context inside the play. Furthering the play's agenda are the absolutely brilliant performances by all five cast members.

Billingslea as Wilks has a boyish, eager quality that transforms into bravery as he commits political suicide. Haney is as incredible a force to be reckoned with as Hicks: the unstoppable, unflappable "Negro" of the play, who knows that assimilation is his path to wealth and success.

Branklyn has perhaps the best role of the play as Barlow, supplying much of the laughter and light-heartedness while still delivering zingers and truisms that can't be denied. Callender is earnest and straightforward as the seemingly hapless Johnson, foil to Hicks' ambition and thorn in Wilks' conscience. His surprising strength and wisdom are well-played by Callender, never cloying or righteous.

Mame is the least-defined character of the five, but Wright gives her depth and breadth as a woman torn between her vision of possibility and the love of her man.

While the piece is talky and slightly too long, the discussion is an important one and has incredible resonance for our time. It also delivers with a great deal of humor, keeping you laughing right up until you find yourself suddenly sober.

Erik Flatmo's soaring set works on so many levels, and is lovely to look at as well. Director Harry J. Elam Jr. keeps the staging lively and engaging, and the production values overall demonstrate TheatreWorks' usual excellence.

Don't delay seeing this show: The performances are phenomenal, and the play significant, provocative, and timely. You'll love the humor and the great acting; and then you'll find yourself thinking about it long after the final bows.

What: "Radio Golf," by August Wilson, presented by TheatreWorks

Where: Mountain View Center for the Performing Arts, 500 Castro St., Mountain View

When: Through Nov. 2, with shows Tuesdays and Wednesdays at 7:30 p.m., Thursday through Saturday at 8 p.m., Sundays at 7 p.m., and Saturday & Sunday at 2 p.m.

Cost: Tickets range from $23 to $61.

Info: Go to www.theatreworks.org or call 650-903-6000.