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

In 2024, City Lit Theater presented the first non-Equity Chicago production of August Wilson’s play “Seven Guitars.” This marked the 1940s chapter in Wilson’s “Century Cycle” exploring the African American experience throughout the 20th century. Manny Buckley directed that acclaimed production and now returns with a rendition of “King Hedley II,” a play set in 1985. This work, seen as a quasi-sequel, examines the struggles of a man recently released from prison who is attempting to rebuild his life.

Under Buckley’s direction, the play maintains a palpable sense of rage. The storyline focuses on a man trying to restart his life while facing numerous obstacles. Although the nuances in the character’s development could benefit from further finesse, the cast’s intense performances shine in City Lit’s intimate setting. Elements of dark humor provide occasional respite from the overall somber tone.

The creative team effectively blends magical realism within the urban landscape of Pittsburgh. The result is a challenging and engaging three-hour experience immersed in Wilson’s world. James Lewis, in his debut at City Lit, portrays the title character, King Hedley. King has served seven years for killing Pernell, who scarred him permanently. At the play’s onset, King is found tending to a small area of soil, hoping to nurture growth despite harsh conditions. He seeks a stable life with his wife, Tonya, and their expected child.

Complications arise as King navigates his transition; he and a friend engage in illegal activities, like selling stolen refrigerators, to gather funds for a video store. Additionally, Pernell’s family poses a threat, motivating King to carry a weapon. This theme of armed men is frequent throughout the play.

In Buckley’s note, the director describes the play as Wilson’s examination of identity. King’s fierce hold on his name—passed down from his father in “Seven Guitars”—serves as his measure of dignity. This theme resonates with similar works, such as John Proctor’s declaration in “The Crucible,” albeit with distinct methods of personal validation.

Parenthood features prominently in the narrative. Isis Elizabeth delivers a profound performance as Tonya. Already a mother and grandmother, she grapples with whether to continue with her pregnancy, fearing her child could face a grim future. Her monologue on this dilemma is stirring.

King’s relationship with parenthood is also complex. Raised by his late great-aunt, he frequently conflicts with his biological mother, Ruby. The news of Tonya’s pregnancy drives him to take extreme measures to secure his family’s future. Tonya emphasizes the importance of his presence over material provisions as they look forward to co-parenting.

James Lewis’s past roles include morally ambiguous characters affected by fatherhood themes. As King, his character arc does not gradually soften; instead, a shift occurs toward the play’s conclusion. This portrayal aligns with Wilson’s writing, though more development leading to this moment would enrich the narrative. Lewis’s strong voice and commanding speeches benefit from greater emotional diversity.

The production is set in 1985 yet recalls the past through dialogue with characters like King, Ruby, and Elmore. The presence of characters from “Seven Guitars” and others adds layers to the realistic Pittsburgh environment. Mike McShane’s lighting and sound design highlight these moments with dramatic visuals and contemplative music.

In Chicago, theaters often present Wilson’s plays on grander stages. At City Lit, the close proximity to the performers amplifies the intensity of their emotions. While the performances occasionally dominate the space, this intimate setting provides a compelling experience of an American theatrical masterpiece.

Emily McClanathan, freelance critic

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