City Lit Theater’s Compelling Rendition of ‘King Hedley II’

In 2024, City Lit Theater presented the first non-Equity Chicago production of August Wilson’s ‘Seven Guitars.’ Manny Buckley, who directed that Jeff Award-winning show, returns with a compelling production of ‘King Hedley II,’ a play set in 1985. This narrative continues with the protagonist striving for a fresh start after prison. Although the character’s journey could benefit from more depth, the cast’s powerful performances resonate within the theater’s intimate setting. Dark humor intersperses with the intensity, providing welcome relief.

The creative team effectively highlights the magical realism in the text while maintaining the setting in urban Pittsburgh. This results in an engaging three-hour experience within Wilson’s world. James Lewis makes his City Lit debut as the titular character. King, recently released from a seven-year prison term for murdering Pernell, is seen tending to a small backyard patch, hoping to grow something new. He hopes to plant seeds for a stable life with his wife Tonya (Isis Elizabeth) and their unborn child. Yet, challenges abound; King and his friend Mister (Ernest Henton) are selling stolen goods to save enough money to open a video store. Pernell’s cousin seeks revenge, leading King to arm himself.

Guns appear frequently in the play, with menacing implications. In his director’s note, Buckley describes the play as ‘Wilson’s intense reflection on identity.’ King fiercely defends his name, echoing themes from Wilson’s ‘Seven Guitars,’ as he reflects on his past actions. His journey parallels John Proctor’s struggle to retain his name in ‘The Crucible,’ though their paths diverge significantly.

Parenthood emerges as a central theme, particularly through Elizabeth’s portrayal of Tonya. At 35, already a grandmother, Tonya faces a difficult decision with her new pregnancy. Her heartfelt monologue on potentially aborting King’s baby conveys her fear of repeating past mistakes with a new child. Tonya demands King’s presence and involvement over material provisions in their shared journey into parenthood.

Lewis has portrayed complex characters grappling with fatherhood before, like Aaron in ‘Titus Andronicus’ and a partner in ‘A Dog’s House.’ As King, a change emerges late in the play, indicating potential growth as a father. While this aligns with Wilson’s writing, more gradual development could enhance this pivotal moment. Lewis’s strong voice and delivery, while impactful, could benefit from more varied emotional expression.

The play’s timeline remains fixed in 1985, yet echoes from ‘Seven Guitars’ reverberate through King, Ruby, and Elmore, played by Jelani Julyus. The setting includes mystical elements, such as the offstage presence of Aunt Ester and the prophetic Stool Pigeon (Brandon Boler). Mike McShane’s lighting and sound design amplify these moments with dramatic effects.

Wilson’s plays are often staged in larger venues like the Goodman, where ‘King Hedley II’ premiered in 2001. At City Lit, proximity to the actors intensifies the experience, bringing you close to the character’s emotional turmoil. Despite sometimes overwhelming the small space, the performances invite deep engagement with Wilson’s powerful storytelling.

Review: “King Hedley II” (3 stars)
When: Through Nov. 29
Where: City Lit Theater, 1020 W. Bryn Mawr
Running time: 3 hours
Tickets: $40 at 773-293-3682 and citylit.org

Emily McClanathan, a freelance critic, presents an immersive view of City Lit’s production. ‘King Hedley II’ enables you to experience Wilson’s classic piece in a setting that elevates the emotional intensity of the performances.