August Wilson's final work is passing through the Huntington Theatre on its way to Broadway. Wilson completed "Radio Golf" shortly before his death last year, putting the capstone on a 10-play cycle exploring the African-American experience over the last century. "Radio Golf" feels very much like today's news, putting Wilson's grand themes of race and community in the world of Tiger Woods and Whole Foods and the consolidation of black radio. (WILD-FM anyone?)
Wednesday's opening was preceded by a short video about Wilson, spoken tributes, a wave from his widow in the audience and a special program note or two. Most of the 10 plays passed through the Huntington at some point or other, and no question there's a special tie here; consider the anecdote about Wilson sitting at a table outside the Pizzeria Uno next door while polishing dialogue. It's all very nice, but what matters is the work, and fortunately that's worth all of the above and more.
"Radio Golf" focuses on two friends, up-and-comers out of Wilson's home turf, Pittsburgh's Hill District, where many of the plays are set. Harmond Wilks is a developer and mayoral hopeful whose new project will bring a Whole Foods, a Starbucks and a Barnes & Noble to the 'hood. But will it also destroy something precious? Wilks' pal and partner is Roosevelt Hicks, a slightly nerdier and definitely more materialistic sort obsessed with his golf game and an opportunity in broadcasting.
The play takes place entirely in their project office, a hastily updated space in a crumbling building whose decay creeps in around the edges of David Gallo's excellent set. Eventually a couple of longtime neighborhood denizens ease into the office, threatening Wilks' sense of purpose, and his reaction could destroy the project and his political future, as well as his bond with Hicks.
I'm not sure "Radio Golf" is quite up to the level of "The Piano Lesson" or "Fences." Wilks' ambitious wife seems a throwaway character, and some of the revelations about neighborhood ties don't carry as much weight as they're intended to. But it's heartfelt and serious and sticks in the mind long after you exit. Hassan El-Amin is excellent as Wilks, a man constrained by trying to do several conflicting "right" things, while James A. Williams is busy and funny and back-stabbing in just the right proportions as Hicks.
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