Don’t miss “Radio Golf,” August Wilson’s 10th and final play, that’s on stage now at the Indiana Repertory Theatre until Jan. 29.
This play is set in 1997, and is the story of Harmond Wilks, a bright, Ivy-League educated man who grew up in the now-crumbling Hill District in Pittsburgh.
While pursuing the title of the city’s first Black mayor, the young politician and his ambitious college friend Roosevelt Hicks plan to organize an urban renewal project in the neighborhood.
Resident Elder Joseph Barlow throws a wrench into their plan that may jeopardize the project and Wilks’ campaign.
The Recorder recently sat down with the play’s director, Lou Bellamy to discuss gentrification, the concerns of African-Americans, what August Wilson was like and the value of heritage versus the necessity of progress.
Recorder: Is this your first time producing an August Wilson play?
Lou Bellamy: Oh no. I produced Augst’s first professional production. I run a theatre in Minnesota called Penumbra that is 35 years old. I’ve directed, acted in or produced all of his plays. I’m quite familiar with his work.
What’s the common theme that runs through his plays?
He wrote these plays that fit into decades in the 20th century. The plays are about African-Americans – common, everyday people in the conduct of their lives. What he does is place African-Americans at the center of American history. Usually African-Americans are an addendum to the history of the U.S. In these plays, they are at the center.
What was August Wilson like?
I met him in the ‘70s and I knew him right up to his death. He lived in St. Paul, Minn., for a number of years. He used to say that the reason he succeeded was that his belief in himself was stronger than others’ disbelief in him. He took great sustenance from inside.
He also said that the contents of his mother’s kitchen was enough to fortify him to go out into the world. He felt a responsibility for giving common people a voice. In his plays, you’ll have a garbage collector making decisions and his life is just as important as the king of England. He also felt a great responsibility for including African-Americans in American history in a real way. He used to say “I’m standing in my grandfather’s shoes.” His grandfather walked as far as he could in those shoes, (August) stepped into them and walked as far as he could. That’s powerful.
Tell me about the significance behind the name of the play, “Radio Golf”?
Mr. Wilson told me that his daughter suggested the name for the play. He thought that he would follow her counsel. It’s about neighborhood and the way in which neighborhoods are gentrified, changed. Golf is a rather elite form of entertainment – it’s sort of juxtaposed as what we think of as the voice of the community, or radio. It’s about a community and a man running for mayor in Pittsburgh. The question is whether the old will be turned up and gotten rid of to provide for the new.
Many plays revolving around African-Americans are set in the ‘60s or ‘70s, but “Radio Golf” is set in the ‘90s. Will people still find relevance and nostalgia in a play that involves issues that are only 15 years old?
This was written before President Barack Obama – before we could even conceive of an African-American president. It pre-dated that.
For that reason, it seems to be particularly relevant, because many of the issues that took place in the ‘90s, we’re still grappling with. You’re certainly aware in which major cities are often taken over by African-American leadership. At the same time, there’s a white flight from the center city.
Many times these mayors find themselves in control of a barren wasteland, a used up city usually with mounting debt. It’s a familiar story and it rings true today with great clarity.
It also tackles the relationship between new and old. The concept of Black mayors is fairly new. They want to see change, however there’s an undeniable Black history that remains.
You put your finger on what is the crux of the drama. This man running for mayor is placed in a position where he has to make a choice. This is often the case in a Wilson play, where one has to make a choice between preserving the past, recognizing the significance of it and the way it informs the present and future.
When African-Americans tend to talk about history, they go back. You hear them talk about slavery and the middle passage. Then you’ll find people of modern culture who say “I don’t want to go way back there, let’s talk about now.” The present is constantly thrown into relief by the past. It’s what we have to frequently grapple with – this mayor is no different. He has to decide what’s important to him and what will fortify his future. It’s a complicated choice.
It’s safe to say that the character Harmond Wilks goes through a lot of highs and lows.
Sure. He starts out with the world by the tail – he’s a man with great promise and gradually everything is stripped from him. He has to reach within himself to rise above it all.
Tell me about the other characters.
Since Wilson wrote these 10 plays, you see the same characters coming through in many of them. This is the last of his plays so most of the characters or their parents, you’ve already seen before. Part of his structure is usually an older person, who is symbolically closer to Africa – the embodiment of history and culture – acts as a guide for the journey of a younger person.
Wilks and Roosevelt Hicks are partners in a real estate venture. They went to college together. Harmond came from an upper middle class family, while Roosevelt came from the hood. They’ve got a different view on life.
Joseph Barlow is that old man who lives in a house that’s scheduled to be torn down. He complicates Harmond’s life.
Mame, Harmond’s wife grew up like Roosevelt. She is an upwardly mobile Black female, capable, smart – just moving forward. She is challenged by Harmond’s reluctance to do what is necessary to get to the next step to be governor or president.
Sterling is a community denizen who went to high school with Harmond.
Is this play meant to unite progress and history?
It certainly forces you to take a look at those things. It’s funny, entertaining and thoughtful. It’s a juncture that many upwardly mobile Black people find themselves at. I think there’s identification from people who watch “Radio Golf.” I’ve even argued with August about this play – which is more important, the past or the future?
Will “Radio Golf” change people’s perception of politics and politicians?
Perhaps. We’re naturally distrustful of that portion of society and I think this is a look inside of it and a chance to see what those individuals are thinking and talking about, what sort of values control or inform their decisions.
Wouldn’t you love to be in the White House and see Barack and Michelle talk and see how she influences what she does? You know it’s significant! You get to see that. It’s a story that Black people are yearning to see presented with sensitivity and complexity on the American stage.
Most of the time Blacks are presented as interlopers on stage, there’s one individual that has no community, no point of view. He’s just there amongst a bunch of white folks. This is about what Black people are concerned about and all of their complexities. It’s refreshing.
Was there anything else you’d like readers to know about “Radio Golf”? I’m thrilled to be able to present the piece with a kind of attention to Black culture and nuance that I think people will find refreshing.
For more information on “Radio Golf,” call (317) 635-5252 or visit irtlive.com.
