The Plays of August Wilson - Jitney/Ma Rainey's Black Bottom/Fences/Joe Turner's Come and Gone/The Piano Lesson/Two Trains Running/Seven Guitars/King Hedley II/Gem of the Ocean/Radio Golf

[Sam]

Coming back to this after a few days' thought, and I am fascinated with the character of Hedley. He seems to be an amalgamation of a couple of characters from Joe Turner's Come and Gone, and his appearance is almost magical IMO, since he seems to be in the wrong play. Very interesting character. I will be looking to see if the type is continued in the later plays.

[Sam]

Next up for us is King Hedley II. I will ask Sara to add it for the 1st of April. I am looking forward to these last three books since I know nothing of them.

[William]

Finished reading Fences a few weeks ago. My review is posted, so I will just offer a few general comments. Wilson continues to write such powerful plays and strong characters. What resonated with me so strongly in this play is that father-son relationship. Troy had conflict with his father over a traumatic incident that happened between them. Then he had difficulty showing love to his sons, which led to strains in their relationship.
Troy had a very strong friendship with Jim Bono, who was able to be less intense than Troy. This plays raises a lot of important questions about interpersonal dynamics. Were Troy and Jim Bono equals, or did Bono always have to submit to Troy's dominance in the relationship? Rose was strong enough to exert her independence after she learned of Troy's infidelity.

[Connie]

Sam, I have King Hedley II and am looking forward to our next read.

William, I also thought that Fences was one of the best plays in the series. Great review! Sam put a link in comment 44 so we could view James Earl Jones in the role of Troy. He plays the role differently than Denzel Washington, and it's worth viewing for 5 minutes.

[Terris]

I ordered "King Hedley II" from my library today! Looking forward to it!

[William]

Connie wrote: "Sam, I have King Hedley II and am looking forward to our next read.

William, I also thought that Fences was one of the best plays in the series. Great review! Sam put a..."

Thanks Connie, I'll go back and take a look at it!

[William]

The two versions of the scene from Fences are a good contrast in showing how acting groups and directors can interpret a scene. The James Earl Jones scene is nearly frightening. The Denzel Washington scene has a lot of audience laughter, which seemed maybe slightly inappropriate, but the as viewers we don't know what came right before this scene. Perhaps the director wanted to soften this scene and so some levity had been introduced before the scene we viewed.

[Connie]

King Hedley II

I was glad that we already read Seven Guitars (set in the 1940s) since some of the characters are also in King Hedley II (set in the 1980s). "King Hedley II" is one of the most tragic of Wilson's plays. Aunt Ester, the matriarch who represents the black women who have dispensed wisdom for centuries, dies. Her name sounds like the word "ancester." This death is a huge loss for the black community in the Hill District of Pittsburgh who depend on her for guidance.

The play centers around King Hedley II, a black man in his thirties. He has spent time in prison, has a hot temper, and wants to get ahead financially. He and Mister come up with illegal schemes, such as selling stolen goods, to get some quick cash so they can open a video store. His wife, Tonya, is pregnant and she does not want her child to have a father in prison, or in a coffin as the victim of violence. She wants King to be present in their lives, and doesn't care about material possessions.

The play is set up like a Greek tragedy with Stool Pigeon acting as the leader of a Greek chorus and providing commentary on the important moments in the play. The cycle of poverty, lack of opportunity, violence, and incarceration are all elements leading to terrible tragedy in this neighborhood.

[Sam]

Thanks Connie for starting discussion on this one. I have finished the play but have not done any secondary reading and was trying to sort my initial thoughts before posting. I felt disappointed at first since I did not think the play was up to the level of earlier work nor did I feel the material reflected the decade represented fully. There is also the recurrent theme of black male competitive confrontations that result in tragic violence as you pointed out and I feel that theme is somewhat stale reading it now as compared to when written. The competitions seem more to prompt audience amusement and despite the tragic, readers are left criticizing the individual characters rather than the broader social ills that may have contributed to the situation. I am not sure if that is Wilson's intent but I don't feel he does much to keep us from seeing the play that way. The females characters also seem to me very poorly developed in this and again, I cannot ascertain Wilson's intent.

Are there other thoughts?

[Connie]

August Wilson wrote in the preface of my book that he was writing about the culture of the black community, not historical events:

"The cycle of plays I have been writing since 1979 is my attempt to represent that culture in dramatic art. From the beginning, I decided not to write about historical events or the pathologies of the black community. The details of our struggle to survive and prosper, in what has been a difficult and sometimes bitter relationship with a system of laws and practices that deny us access to the tools necessary for productive and industrious life, are available to any serious student of history or sociology."

With this play, I was first trying to find something to hook it to the 1980s, and also the death of Aunt Ester. Martin Luther King and Malcolm X died in the 1960s. The 1980s was the time of the Reagan administration which did not help civil rights. There were 1980s cultural icons such as Oprah, Spike Lee, Toni Morrison, and Michael Jackson. But the play did not suggest any of these things, and didn't feel specific to the 1980s.

We see gambling, and selling stolen goods since legal jobs pay so poorly. There was more personal black vs black violence in this play compared with the other plays, with some white injustice in the workplace or by the police. Tonya was really the only character I liked, and it felt like things were going to end badly for most of the characters. This play did not offer much hope for the characters compared to "Fences," which is probably my favorite play so far in the Century Cycle.

[William]

Connie wrote: "August Wilson wrote in the preface of my book that he was writing about the culture of the black community, not historical events:

"The cycle of plays I have been writing since 1979 is my attempt ..."

Connie, this is a very insightful post. My next read in the cycle is "Two Trains Running", so I'm still back in the 60's. I've been so impressed with the quality of these plays across the centuries. I wondered if Wilson could keep up the high quality through all ten of the plays. It has been a great reading experience so far. If the last four aren't quite as good as the first six-with only Gem of the Ocean not quite as good as the other five- then that's still a lot of very powerful literature!

[Connie]

"Two Trains Running" is not as dark as "King Hedley II" so I hope you enjoy it, William.

[Terris]

I just finished "King Hedley II." It certainly is darker than the other plays. And Wilson is weaving in some deep themes into this one.
It was sad, but one of the best so far, IMO.

[Sam]

Everyone had a better opinion of King Hedly Ii than I it seems but perhaps I will feel more positive about Gem of the Ocean the play for May. I am awaiting an interlibrary loan for this and will start it as soon after the 1st as I receive it.

[Connie]

My interlibrary loan for Gem of the Ocean just came in so I'll pick it up next week.

I felt lukewarm about the ending to "King Hedley II." I liked it when the men put down their weapons and did not kill each other, and the redemption of King at the end. But the idea of the blood reviving the cat who had nine lives, and the cat somehow bringing Aunt Ester back seemed a bit forced. I realize that it's just symbolic, but it seemed too contrived.

[Connie]

I just started Gem of the Ocean set in 1904. Wilson is showing us the problems in the years after Emancipation. Aunt Esther is a major character. I'm looking forward to reading more of the play tonight.

[Sam]

I was duning out with the book with me when I read your post but confess I never opened it. I fininshed a couple of other books today so I will definitely be reading tomorrow with thoughts soon afterward.

[Terris]

Radio Golf is now the only one I haven't read, but I don't see that it on your list (at the top). Are we planning to read it in this group also?

[William]

Connie wrote: "I just started Gem of the Ocean set in 1904. Wilson is showing us the problems in the years after Emancipation. Aunt Esther is a major character. I'm looking forward to reading more o..."

Connie, of the six Wilson plays I've read so far, Gem of the Ocean was my least favorite. But it's still pretty well written. I liked that it wasn't as violent as some of the other plays. Looking forward to see how you enjoy it.

[Sam]

Terris wrote: "Radio Golf is now the only one I haven't read, but I don't see that it on your list (at the top). Are we planning to read it in this group also?"

Yes I don't add them till the month we discuss them. It will be added for June.

[Terris]

Sam wrote: "Terris wrote: "Radio Golf is now the only one I haven't read, but I don't see that it on your list (at the top). Are we planning to read it in this group also?"

Yes I don't add them ..."

Great! Thanks, I didn't think you would leave one out :)
I'll put it on my list for June!

[Connie]

I read a short Master's thesis by Anedra D Johnson from the University of Florida titled, "Discovering Aunt Ester in Gem of the Ocean by August Wilson". (I can't give a direct link, but it can be googled.) Anedra is an actress who played Aunt Ester in their production. She writes how she prepared for the role, including studying videos of her elderly relatives and interacting with older women at her church.

She writes about spirituality, and how Wilson incorporated both Biblical and West African Yoruban elements into the play. Ancestors are very important in Africa. Aunt Ester can be considered the goddess or Orisha of fresh water, Oshun, in the Yoruba Religion. (p 20-23)

[Sam]

Thanks for that Connie. I read the first half of the play and am enjoying it more than the last two since the number of ideas and themes bubbling beneath the story being told are adding more complexity a general feel to the play. I am also high on the characters. I won't say more because this can all come crashing down in the second act.

I am quite fascinated with Esther's son Junebug at this moment and will add more when finished with the play.

[Sam]

I have finished the play was delighted that Wilson returned to the surreal, impressionistic, collage style of Joe Turner's Come and Gone. with the variety of themes and layers of meaning. (So delighted, I gave the play five stars) The placement of this play in the publishing of the cycle also helped me better appreciate the plays in the cycle which were more intimate character drawn stories in contrast, as well as the cycle as a whole. Had we read this series in a time sequential order I would not have experienced this boost since both of the plays of this type would have been early in the reading.

I felt there were so many things to like about this play from the memorable characters to the vivid symbols. There is so much to talk about in the play, I could go on for pages, but I will try to limit myself. I felt the main plotline concerning Citizen Barlow was somewhat Dostoevskian, with Barlow in a Raskolnikov-like role from Crime and Punishment. Aunt Ester OTOH, feels to me like she is coming from a Greek Drama. The inteaction between the characters is magical. Caesar IMO seems like he is more 20th century, using a rule of law argument to justify ego, abuse, and sadism but he is also age old best seen as Javert in Les Miserables. From the plays we read he is the natural evolution of the controlling authoritarian character whether Becker the father,
in Jitney, or Troy in Fences. He is evocative of Black preying on Black social ill, and especially Black on Black violence. Do any of you have any thoughts on the above? Did you see it differently? I think the play is rich in potential levels of interpretation and welcome your ideas. Thanks again Connie for the link to the thesis by Anedra D Johnson. I only scanned it but I will be reading it in more depth.

Earlier I asked about the references to Junebug, Ester's son. In the dialog where she finds Citizen Barlow had climbed in the window, she notes he reminds her of Junebug and makes reference to "rope," in that speech. I saw that as a reference to lynching or at least bondage. Did anyone have other thoughts? I could not remember if the son was referenced in earlier plays.

I know some of you were not as fond of this play, but please forgive my enthusiasm.
I am looking forward to the next and last play in the cycle, Radio Golf and shall ask Sara to link it for June first.

[Connie]

Thanks for your interesting comments, Sam. I missed the reference to "rope" regarding Junebug, but remember the quote about seeing her children in the stars. Lynching does sound probable with a rope mentioned. Since Aunt Ester is so old, it could also go back to slavery when the slaves were tied to long ropes and had to walk for miles to a slave auction.

The nickname Junebug (a type of beetle) can have many meanings--someone born in June, a term of endearment usually for a girl, or a tough bully. I think Aunt Ester may have been commenting on Citizen's resolute personality. He had not been paid for his work so he stole the box of nails from his employer. Citizen refused to back down to the employer. I found this article about the nickname Junebug:

https://www.phillytrib.com/commentary...

I liked the symbolism in the play. It answered questions I had about Aunt Ester from "Two Trains Running." References to water ran through the play, some regarding the ocean trip from Africa, and others regarding the river in Pittsburgh that powers the mills. Working in the mills on reduced wages was a type of enslavement too. Making a paper boat out of Aunt Ester's bill of sale so they could travel to the City of Bones was chilling.

Caesar seemed overly violent as if he was trying to prove to the white police that he wanted to be considered part of the "police community," and not the black community. Even though he was black, he was enforcing the Jim Crow laws keeping the blacks in the southern states.

[Connie]

I finished "Radio Golf" since I have a busy June, and enjoyed reading about the descendants of the characters in some earlier plays of the Century Cycle. This play, showing some black economic upward mobility and multi-generational transfer of wealth, is a fitting end to Wilson's Century Cycle. The black dialect, African music, references to black history, and the help of spiritual advisor Aunt Ester from the earlier nine plays have a less prominent place in this last play and in the lives of those climbing the economic ladder. The play is well-written, the plot involves moral choices, and it has a more contemporary feel to it since it's set close to the start of the 21st Century.

[Terris]

I finished, too, Connie, and agree with all your comments about this play. I thought it was a good finish for the Century Cycle :)

[Sam]

Looks like I am odd man out since I am just starting but glad everyone enjoyed this one and finishing the whole cycle. I always have a sense of satisfaction upon finishing a longer challenge and hope you had the same. I thank you for joining me. I will post my thoughts when I have finished Radio Golf.

[Connie]

Thank you for organizing this read of ten plays, Sam. It was a good idea to read them over a short length of time. Reading Gem of the Ocean and Radio Golf back to back heightened the impact of the changes that occurred over the 20th Century.

I'll be looking forward to everyone else's comments about "Radio Golf."

[Terris]

Yes, thanks for starting us up on the journey through August Wilson's "Century Cycle," Sam! I had read five of the plays before this group was started, but I don't know when I would have made myself finish the other five! It was much more fun knowing others were reading at the same time and commenting. And though I didn't comment much, thanks to all who did -- you made my reading experience much fuller! :)

[Sam]

I finally caught up with everyone and like Connie said, this proved a good ending to the cycle. Connie in fact said everything I would say but in a lot less words. One thing I would add is that twenty years have passed since the play has written and what a roller coaster twenty years it has been. In that time we had a black president but in the following years we also had some shocking examples of racially motivated acts which made this cycle of Wilson's all the more poignant IMO. I don't feel I need add more but I do wonder what comes next.

[Connie]

Sam, I remember that you were going to read a biography of August Wilson. Have you started it yet, and do you see parallels between his life and the plays?

[Sam]

Actually I decided to hold off until I finished the cycle. I am going to read his two short piecesThe Ground on Which I Stand and How I Learned What I Learned and then will read the biography. I will add notes on these if you wish when I have finished.

[Connie]

Thanks, Sam. That would be wonderful.

[Sam]

I finished The Ground on which I Stand which was the text of a speech Wilson gave at a theater Group Coference where he asks support for the idea that Blacks should control the cultural content derived from their culture. I found the speech excellent and quite relative to our reading of his plays. I recommend it. Here is a link with the speech's content.

https://www.americantheatre.org/2016/...

[Connie]

Sam wrote: "I finished The Ground on which I Stand which was the text of a speech Wilson gave at a theater Group Coference where he asks support for the idea that Blacks should control the cultural content der..."

That was a very good speech, Sam. I've noticed that theaters in my area have been staging plays written by Black playwrights and featuring Black actors much more than in the 1990s when this speech was given. The theaters in the city are catering more to the population in the city, and not just the people driving in from the suburbs. (There have also been more Hispanic plays.) Lack of funding was an important point.

Colorblind casting seems to be a matter of debate, and I can see both the positive and negative aspects of it. He was firmly against it, and I can't imagine a non-Black actor in any of his plays. But it seems like it would reduce job opportunities if minorities were not included in the casting of plays written by white playwrights, and it would be especially important in theaters connected with universities.

While I knew about Black actors entertaining non-Black audiences in the Harlem Renaissance, I hadn't thought about the origins of Black theater on the slave plantations where the slaves were used to entertain their masters by singing and dancing. Material was slanted for white consumption.

[Sam]

Connie wrote: "Sam wrote: "I finished The Ground on which I Stand which was the text of a speech Wilson gave at a theater Group Coference where he asks support for the idea that Blacks should control the cultural..."

Thanks Connie.

[Sam]

I finished How I Learned What I Learned, a short one man autobiographical play by Wilson and again, it felt like a must read if one is to get a full picture of the author's talent and personal feelings about race and his work. Wilson uses a different voice, something more street savvy for this narration and comments very openly and critically on race and his experience and and the consequences of his growing up as a black man in Philadelphia. This was a welcome addition to the earlier reading and added a further perspective to the view of Wilson from these plays. I will read the recent biography next.

[Connie]

Sam wrote: "I finished How I Learned What I Learned, a short one man autobiographical play by Wilson and again, it felt like a must read if one is to get a full picture of the author's talent a..."

I read that Wilson played himself when the play was first introduced. It's quite a role for someone else to play, a 1 hour 45 minute monologue with no intermission. Thanks for letting us know about this work, Sam.

[Sam]

Connie wrote: "Sam, I remember that you were going to read a biography of August Wilson. Have you started it yet, and do you see parallels between his life and the plays?"

I finally got around to reading the biography. It is a good biography and offers some insights but I don't think it adds much more that can't be gleaned elsewhere. The book shines in recounting how plays went from page to production including the many conflicts that occured along the way. The book also tells how the plays we were reading evolved requiring many edits, constant rewriting, and subject to the input from directors and actors, so that our idea of text should probably be plastic than we think.

[Connie]

Sam wrote: "Connie wrote: "Sam, I remember that you were going to read a biography of August Wilson. Have you started it yet, and do you see parallels between his life and the plays?"

I finally got around to ..."

Thanks for getting back about the biography, Sam. I remember reading how important Lloyd Richards, the director at the Yale Rep, was in presenting his early plays. I've never seen a play there, but I wish I had known more about Wilson years ago since I only live about an hour away.

[Sam]

Connie wrote: "Sam wrote: "Connie wrote: "Sam, I remember that you were going to read a biography of August Wilson. Have you started it yet, and do you see parallels between his life and the plays?"

I finally go..."

I am getting too damn old. I thought I had added some thoughts and coming to check the post, I find it is not there.

Lloyd Richards plays an important role in the biography but I'm not sure it would yield the information you might wish. This biography pretty much adheres to Wilson's relationship with the theater, so Lloyd Richards' involvement focuses on his specific relationship with Wilson where he becomes Wilson's mentor and opens the door for Wilson but control and artistic differences eventually drive them apart. I felt the book was fair to both but seemed to favor Wilson a bit more in placing blame. Details about their relationship were mostly related to theater business both artistic and back office so the author devotes a good deal of time to disputes over actors for a role, but the does not move far from the business of theater.

[Connie]

Thanks, Sam, for the info about Lloyd Richards. I think it's this crazy new "lack of notifications" that makes us forget what we did or did not post. It's certainly taking more effort to follow conversations on GR.