It is always a pleasure to review any productions at A Noise Within because more often than not, they constantly deliver bold works of art from all aspects in the creative department. This is to be the case once again for King Hedley II, an incredible rendition of August Wilson’s ninth play in his ten-part Pittsburgh Cycle series.
Directed by Gregg T. Daniel who has previously directed A Noise Within productions of Wilson’s Gem of the Ocean, Seven Guitars and Radio Golf, King Hedley II is another prime example of Black Excellence in theatre that cannot be missed.
After seven years in prison, King Hedley re-enters society eager to rebuild his life, but quickly confronts the inescapable challenges facing Black men in Reagan-era Pittsburgh. King’s disenfranchisement comes into conflict with the stories he’s been telling himself. Yet he continues to plant seeds where nothing can grow.
Photo by Craig Schwartz
August Wilson is often revered as America’s Shakespeare and as such, accomplishing his work requires actors who are up to task with tackling the immensely deep and challenging text. This is most certainly the case with the ensemble cast with this A Noise Within production as it starts off with a most dynamic introduction in the form of the neighborhood truthsayer Stool Pigeon, wonderfully brought to life by Gerald C. Rivers. Rivers does such a great job with this character that he steals the scene every time he makes an appearance in and we miss him dearly when he’s not present.
That’s not to say that the rest of the cast doesn’t meet the high bar Rivers sets as each and every one of them are absolute knockouts in the talent department. Aaron Jennings takes on the title role of King and succeeds in accomplishing the greatest challenge of having us be sympathetic to a rather complex man whose pain in trying to make ends meet as a Black man in America is mixed with his distorted sense of masculinity.
Matching him in the distorted masculinity department is the character of Elmore, Ruby’s longtime flame. Actor Ben Cain imbues the role with such charm and hidden menace that it becomes unpredictable if we are to like Elmore, trust him, or fear him. By the time the play reaches its explosive finale, Cain gradually sheds his charming personality to reveal the toxic rage within as the two men fulfills the Shakespearean tragedy of being unable to let go of their past and their pride.
Speaking of Ruby, she is the birth mother of King who abandoned her son for many years and has only now returned to Pittsburgh following the death of Louise, the woman who raised King. Taking on the role is Veralyn Jones who effortlessly plays the character with such a firm understated performance that contrasts beautifully (and heavily) with the macho bravado of the men in her life. The same can be said for the character of King’s wife, Tonya who is beautifully brought to life by Kacie Rogers and has probably the most MVP monologue out of all the characters when Tonya reminds King of what the true definition of a man is.
Christian Henley stands out from the rest of the characters in terms that he continuously brings levity and humor to his role of Mister, King’s best friend and foil to his (often misplaced) ambitions. Henley brings such an easygoing and smooth presence that you cannot help but like him and all his goofy ways. My only complaint? That he doesn’t have his own centered press photo because that’s how much I liked his performance (so in the meantime, you can see him properly in the back for the photo down below).
This play is a behemoth in terms of length as it clocked in at two hours and 45 minutes with a 15-minute intermission. Yet despite the sheer size, the ensemble cast’s acting and the gorgeous & efficient directing from Gregg T. Daniel moves the production at a brisk pace even though so many of the moments are very long monologues. This especially becomes the case for the climactic finale where it becomes much more Shakespearean in nature by how the characters are delivering life-altering monologues that serve to heighten the drama. It is also rather jarring from the rest of the play as everything comes to a halt as most of the characters sit or stand around listening to Elmore and Ruby reveal their ugly pasts to everyone, hurtling them all into into a tragic conclusion. This is also, to me, perhaps the weakest part of the play by no fault of the director or the actors and falls solely on Wilson himself, which would probably be blasphemous for me to say.
That being said, the importance of this play as well as the entire Pittsburgh Cycle series cannot be stressed enough and as such, it is the responsibility of every artist in America to watch the entire works of August Wilson. I am therefore so glad that A Noise Within has been doing such a resounding job of bringing them for our current times as they serve as a reminder of the past, but a reminder that while things have changed, there are many, many things that haven’t. I also will emphasize that with a predominantly white theatre like A Noise Within, I continue to advocate that I hope to see these extraordinary Black actors be hired as the leads in productions that are not about the Global Majority struggle or specific ethnic stories.
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 assisting. The producing sponsors are Dick and Sally Roberts.
Performances of King Hedley II take place April 6 through April 28 on Thursdays at 7:30 p.m.; Fridays at 8 p.m.; Saturdays at 2 p.m. and 8 p.m.; and Sundays at 2 p.m. (no 2 p.m. matinee on Saturday, April 6; no evening performance on Saturday, April 27; dark Thursday, April 18). Four preview performances take place on Sunday, March 31 at 2 p.m.; Wednesday, April 3 and Thursday, April 4 each at 7:30 p.m.; and Friday, April 5 at 8 p.m.
The performance on Thursday, April 11 is “Black Out Night,” an opportunity for an audience self-identifying as Black to experience the performance together, and tickets include admission to a post-show reception; non-Black-identifying patrons are welcome to attend, or to select a different performance. Post–performance conversations 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, 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.
Tickets to King Hedley II start at $29. Student tickets start at $18.
WHAT:
A Noise Within continues its commitment to August Wilson’s “American Century Cycle” with King Hedley II, the ninth play in Wilson’s extraordinary 10-play cycle that explores the Black experience in 20th century America decade-by decade. After seven years in prison, King Hedley re-enters society eager to rebuild his life, but quickly confronts the inescapable challenges facing Black men in Reagan-era Pittsburgh. King’s disenfranchisement comes into conflict with the stories he’s been telling himself. Yet he continues to plant seeds where nothing can grow.
WHO:
• 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)
HOW:
www.anoisewithin.org
(626) 356-3100