"Radio Golf" is the 10th and final play in an acclaimed series by August Wilson that speaks to the African-American experience throughout the 20th century. "Golf" is, therefore, a finale, the end to a collective work that spanned a decade and included two Pulitzer Prize-winning shows.
The play's lineage heightens expectation for the Huntington Theatre Company's production of "Radio Golf," but, ultimately, that only heightens disappointment in its flaws.
"Radio Golf" revolves around the well-intentioned Harmond Wilks as he attempts to become the mayor of Pittsburgh, a city in desperate need of new leadership. He has a clear vision to revitalize the community, which is outlined on poster board on stage for the duration of the show.
Harmond's ambitious wife, Mame, manages his campaign along with his business partner, Roosevelt Hicks. Harmond quickly climbs the rungs of the local political ladder and seems poised to become the first African-American mayor of his hometown. Then he meets the owner of the dilapidated and seemingly abandoned house that threatens to stand in the way of both urban progress as well as Harmond's dream.
Exceptional acting complements this intriguing story. Hassan El-Amin, who plays Harmond, achieves the range required for such a complex character; he is a clear leader from the moment he steps on stage. His wide-eyed hope when discussing his plans endears him to the audience, while his internal conflict becomes apparent as he exudes frustration and regret beneath his cloak of stability. El-Amin skillfully portrays the universality of a leader whose once-moral foundation is questioned by mere circumstance.
Harmond's moral questioning most influences the audience's ability to empathize with the characters. After Harmond makes self-marring decisions in the name of morality, his enterprising wife disagrees with his convictions and begins to stray from him. The tenderness that he shows her is real and unaffected. The conflict reveals Mame's importance as her husband's anchor and displays the gravity of Harmond's potential loss.
The play speaks of progress and questions whether moving forward, as a society or as a person, makes it worth paving over the memories instilled by the past. The juxtaposition of Harmond's Martin Luther King Jr. poster with that of Tiger Woods on the backdrop addresses the issue of categorization of African-Americans in society. Harmond's partner chooses to accept a profitable business proposition with the knowledge that he acts as a pawn, useful only because of his skin color.
"Radio Golf" is a play that should have impacted the audience in many ways, yet it fails to accomplish this task. Although many people must face the touchy issues addressed in "Radio Golf" every day, its script is difficult to identify with, regardless of one's ethnicity.
At its most basic level, the play is too long, and many audience members were caught red-handed glancing at their watches. As a result, the show dragged like a preacher's sermon. More importantly, "Radio Golf" lacked intimacy, both in the relationships of the characters and between the characters and the audience. The script brought forth important ideas, yet lacked compassion.
When characters lack humanity, it's difficult to identify with their plight. "Radio Golf" is an important play that will indubitably spark conversation, yet if you enjoy entertainment at the theater, prepare for disappointment.
CORRECTION: Photographs accompanying yesterday's Arts article entitled, "'Radio Golf' isn't up to Wilson's par," were improperly credited to Warp Records. The credits should have gone to photographer Eric Antoniou of the Huntington Theatre Company.
