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Written by Anne Earney Sunday, 30 April 2006 05:07

Ed Smith’s direction made great use of the space; nothing appeared artificial or contrived.

By August Wilson
Directed by Ed Smith
Through May 14, 2006

With a rich, thickly woven story, King Hedley II tells the tale of one man’s seemingly inevitable unraveling. Assisted and hindered by family and friends, King Hedley is not only a victim of circumstance, but of his own willfulness as well.

Set in Pittsburgh’s impoverished Hill District in the spring of 1985, King, recently released from prison, cleans up trash in a patch of dirt between his home and his neighbor, Stool Pigeon’s, so that King can plant some seeds and grow flowers for his wife, Tonya. King’s mother, Ruby, tells him he needs to get some good dirt, that the seeds won’t grow where he’s thrown them.

But they do grow, and at the same time, things seem to be looking up for King, even as his life grows complicated again, until the bubble bursts in a surprising ending.

Although the material is serious, it also includes many humorous moments, welcomed respites in a world of too much pain and suffering. All around, performances were strong, but Ron Himes, playing King, was the star, dominating from the moment he appeared on stage, poised like a fighter about to take to the ring. In conjunction with Himes’ commanding voice and physical presence, little touches, such as fiddling with a rubber band on his wrist, brought King to life as a fully rounded character.

Stool Pigeon, played by Dennis Lebby, was endearingly off-center and passionate about many things, including bringing a dead cat back to life and following the news in the paper. His trademark line, “You gotta know that,” is often repeated. Bianca Laverne, who played King’s wife, Tonya, delivered a moving rant about raising children in a violent situation, and Geoffrey Williams brought a sweet, humorous air to his portrayal of Mister, King’s best friend. Starletta DuPois and A.C. Smith, as King’s mother and her friend, Elmore, made it all too easy to see why the younger generations weren’t thriving, given from where they had come.

The set, designed by Harlan Penn, captured the essence of the poor neighborhood: trash along the sides of the buildings and under porches, banged-up metal cans, and wood crates which functioned as lawn furniture. Ed Smith’s direction made great use of the space; nothing appeared artificial or contrived. Although the play runs a bit long (over three hours, including a 15-minute intermission), Smith managed to keep the drama going, with just enough humor to lighten things up.

The story of King Hedley II is as rich and fulfilling as a good novel. Tackling complicated issues with style and poetry, metaphor and simplicity, the production would likely grow richer and more nuanced with repeated viewings.