The Hot Wing King

B-

For the third and final play of her Signature Theatre residency, Katori Hall (Hurt Village, Our Lady of Kibeho) has gone in a surprising direction: she has written a play about six black men in Memphis, of whom four are gay. It’s not often that we get a look at a loving relationship between black gay men and all the more surprising that it took a woman to provide it. The action is set in the cozy home of Dwayne (Korey Jackson; Far from Heaven), manager of a Memphis hotel. His lover Cordell (Toussaint Jeanlouis; but i cd only whisper) and their friends Isom (Sheldon Best; Sugar in Our Wounds) and Big Charles (Nicco Annan) are the other members of the New Wing Order team, who are competing in the annual hot wing contest. Cordell is the genius whose exotic wings recipes the others love to taste. We learn that Cordell is in the process of divorcing his wife who lives in St. Louis with their two college-age sons. He only moved in with Dwayne a few months ago. Big Charles owns the barber shop where Dwayne and Cordell met. I never did figure out how the flamboyant Isom fit into the group. We also meet Dwayne’s brother-in-law TJ (Eric B. Robinson Jr.), a petty crook who is doing a poor job of raising his teenage son EJ (Cecil Blutcher; Showtime Blues) after his wife’s death. Dwayne would like to take EJ in, but Cordell, guilty over abandoning his own sons, doesn’t want to raise someone else’s. Although there are serious moments, humor prevails. I was frustrated that many lines that drew laughs from black members of the audience sailed right by me. The actors work well together, especially in a couple of slapstick scenes. The resolution of the hot wing contest is a bit anticlimactic, but as a group portrait, this lively play succeeds. Michael Canahan’s (Skeleton Crew, The Piano Lesson) set, which consists of a cross-section of Dwayne’s house, looks lived in. Emilio Sosa’s (On Your Feet!, Make Believe) costumes befit their characters. Steve H. Broadnax III’s (Travisville) direction is assured. Running time: two hours 30 minutes including intermission.

Skeleton Crew ***

Dominique Morisseau has, on a smaller scale, done for Detroit what August Wilson did for Pittsburgh — chronicled the lives of some of its African-American residents over the decades. The final play in her Detroit trilogy, now at Atlantic Stage 2, is a workplace drama set in the break room of a failing auto parts plant in 2008 just as the Great Recession hits. An opening radio bulletin raises the question of how the city has fared in the 40 years since the bloody riots of 1968. We meet three workers — the crusty lesbian Faye (Lynda Gravatt), the union rep who is approaching the 30-year mark at work; Dez (Jason Dirden), a hotheaded young man with authority issues who is putting in as much overtime as possible to be able to leave and start his own garage; Shanita (Nikiya Mathis), a very pregnant second-generation worker who takes pride in her work. Their foreman Reggie (Wendell B. Franklin) got his job with Faye’s help and rose through the ranks to low-level management. Faye is secretly facing serious difficulties, some of her own making. Dez has a crush on Shakita, who has troubling dreams. We learn that Reggie’s late mother was the love of Faye’s life. Reggie is torn by divided loyalties. Management has cut back relentlessly. Supplies are disappearing in night-time thefts. The threat of closure hangs over everyone. The situations are involving and the dialogue is lively. Morisseau’s characters, brought to life by a superb cast, are easy to care about. At its best moments, it recalls August Wilson’s work. The play is greatly assisted by a first-rate production directed by Ruben Santiago-Hudson. Michael Carnahan’s set creates a believable factory break room down to the smallest detail. Paul Tazewell’s costumes are excellent — Faye’s sequined Obama jacket speaks volumes. Rui Rita’s lighting design sets the right mood. The sound design by Robert Kaplowitz is supplemented by original songs by Jimmy “J.Keys” Keys. The breaks between scenes are marked by dance sequences choreographed and performed by Adesola Osakalumi that capture the repetitive, robotic nature of the work. Some of these interludes are punctuated by uncredited projections of the factory floor, the final one showing robots at work. I hope a brave producer mounts Morisseau’s complete trilogy soon. Running time: one hour 50 minutes including intermission.

The Piano Lesson *****

(Please click on the title to see the complete review.)
This lively revival of August Wilson's play about a black family in Pittsburgh in 1936 is one of the highlights of the season. This Signature Theatre production, ably directed by Ruben Santiago-Hudson, features an ensemble cast that is close to perfection. Roslyn Ruff's stern Berniece is a worthy opponent for Brandon J. Dirden's feisty Boy Willie, as the two siblings fight over the piano on which their grandfather had carved the family history. James A. Williams (Doaker), Jason Dirden (Lymon), Chuck Cooper (Wining Boy) and Eric Lenox Abrams (Avery) bring their distinctive characters vividly to life. Alexis Holt (Maretha) and Mandi Masden (Grace) are fine in smaller roles. Michael Carnahan's set is superb, as are Karen Perry's costumes and Rui Rita's lighting. I was surprised how much humor there is and how central a role music plays. From an a capella work song to boogie woogie to blues, the music is beautifully performed and seamlessly integrated into the action. The pace is leisurely, but gratifyingly so. All in all, a rare treat. Running time: 2 hours, 55 minutes including intermission.