Review: Radio Golf (Raven Theatre)


Wilson’s thought-provoking drama has a whole new relevancy in 2011


Warren Levon, Demetria Thomas, Michael Pogue in Raven Theatre's 'Radio Golf'. Photo by Dean LaPrairie.

Raven Theatre presents
Radio Golf
Written by August Wilson 
Directed by
Aaron Todd Douglas
Raven Theatre, 6157 N. Clark Street (map)
through April 9 |  tickets: $30  |  more info 

Reviewed by Dan Jakes

It’s only been six years since Radio Golf, the tenth and final work in Pulitzer Prize winning playwright August Wilson’s “Pittsburg Cycle, premiered at Yale Rep.

A lot has happened in six years.

In that time, certain middle-upper-class white signifiers prominently featured in this 1990’s-based drama have taken a dip from grace. Starbucks, Barnes and Noble, lucrative condo investments and, well, Tiger Woods…let’s just say they aren’t what they used to be. “Unemployment” has knocked out “affluenza” as the country’s go-to economic buzz-word, Chicago just watched a mayoral campaign season with similar Harold Washington-era fears about equal race representation and, oh yeah, America elected its first non-white president.

Michael Pogue, Demetria Thomas in a scene from Raven Theatre's 'Radio Golf' by August Wilson. Photo by Dean LaPrairie.Yesterday, this show about a wealthy young black man running for mayor of Pittsburg was contemporary. Today it’s a period-piece, a quality that only adds to its resounding ideas.

The timing of director Aaron Todd Douglas’ production feels perfect. With just enough distance and room for perspective, we get to see the protagonists’ superficial goals and misplaced trusts with an unwavering knowledge of the consequences—something Wilson, who died in 2005, never got the chance to witness for himself. I wonder if he knew he was creating a prescient work of theatre.

As candidate Wilks, Michael Pogue conveys idealism and an eagerness to please his community, listening to its grievances and welcoming citizens into his private office, a space traditionally reserved for the shady deals that are kept far away from picture-windowed PR campaign centers. Time goes on and compromises need to be made, such as the necessity to petition a neighborhood for blight status and the unethical demolishing of a delinquent taxpayer’s house. A little more arc in Pogue’s demeanor would be compelling. But like the rest of this cast, Pogue finds the rhythm in Wilson’s dialogue most of the time (the poetic allegories are clear and strong), steam-rolling it a bit here and there.

David Adams is the most consistent and entertaining of the bunch. Patient and methodical as the stubborn but righteous owner of the dilapidated property at 1839 Wylie Ave.—a brick house that stands in Wilks’ way between continued suburban poverty and a massive, gentrifying real estate complex—Adams carries the weary but proud burden of a man who values what’s right. Blue collar local Sterling Johnson (Antoine Pierre Whitfield) does likewise. Both actors nail Radio Golf’s comedy with complementing styles: Adams understated and Whitfield abrasive.

It makes me wonder about 2012. 15 years after this story takes place, how much of “the game” will be the same, and who gets to play?

Rating: ★★★

Warren Levon, Michael Pogue, and David Adams in Raven Theatre's 'Radio Golf' by August Wilson. Photo by Dean LaPrairie.

Radio Golf continues through April 9th, with performances Thurs. through Sat. 8pm, and Sundays at 3pm. Tickets are $30, and are available by calling 773-338-2177, or online at



Continue reading

REVIEW: Herbert III and Contribution (eta Creative Arts)

A very pleasant flashback


eta Creative Arts presents
Herbert III and Contribution
Written by Ted Shine
Directed by
Phyllis E. Griffin
eta Creative Arts, 7558 S. South Chicago Ave. (map)
through August 22nd  |  tickets: $30  |  more info

reviewed by K.D. Hopkins

Whenever I attend a revival of any sort I go in with apprehension and in some cases outright dread. When I saw that eta Creative Arts Foundation was doing a revival of Ted Shine’s work on civil rights issues from the 1960”s I was intrigued. With any revival there is the danger of being not only outdated but characters becoming caricatures, and there is danger of any humor being unintended.

Phyllis E. Griffin is the director of the eta revival of Ted Shine’s Herbert III and Contribution. Ms. Griffin has managed to put a modern perspective on these classic works of African American theatre. These works call for a subtle buildup to the climax but with an economy of time.

Herbert III

In Herbert III, the action takes place in Herbert Jr. and his wife Margarette’s bedroom. Margarette (Tiffany Griffin) wakes up late in the night and discovers that Herbert III has yet to come home. Tiffany Griffin is quite funny as the passive aggressive mother known to every ethnicity. She wants the world for her baby and yet blames Herbert Jr. for making it impossible. She makes panicked calls to the police, hospital, and the morgue. After each call she is grateful to Jesus and breaks into gospel hymns lauding the heavens. Griffin’s body language is perfectly reminiscent of the ‘amen corner’ sisters in churches where getting the spirit involves shouting, dancing, and sometimes passing out.

Antoine Pierre Whitfield plays the role of Herbert Jr. as the embodiment of the middle class everyman. He trusts that his son is okay and out bowling with friends. He wants either peaceful sleep or frisky sex – neither of which is forthcoming. The characters are childhood sweethearts from the 1950’s who got married after a hotel assignation produces the first of three children. Mr. Shine’s comedy reflects the social changes that erupted in the early to mid-sixties, especially in the urban centers of America. Herbert and Margarette’s first- born son fell under the spell of H. Rap Brown and Stokely Carmichael’s call to arms for Black men. He is serving a life sentence for killing a bigoted police officer. Their second son is a draft dodger living in Canada for which Herbert Jr. is proud, much to Margarette’s chagrin. Herbert Jr. recalls his tenure in Korea with distaste while his wife calls it an American duty.

Herbert III is what Margarette clings to as her last hope for being a proud mother and saving face for the family. She chides Herbert Jr. for his failures of not making more money and being doomed to manual labor. Believe it or not, it is a comedy.

Their banter is tense and charged with naughtiness. Herbert III is a good warm up for the second one act of the evening – Contribution.


Felisha McNeal is the comic centerpiece of Contribution. She dazzles as the foul-mouthed beer-swilling granny who finds a way to contribute to the Civil Rights Movement. The action opens on the day that Mrs. Grace Love’s (McNeal) grandson Eugene is going to be a part of integrating a lunch counter in the South. Jerod Haynes plays Eugene with seriousness and uptight anger, taking his duty of integration as serious business. He doesn’t understand how his grandmother could work for White folks while her people are being beaten and in some cases killed. Ms. McNeal segues seamlessly from comedy to deep anger and grief over lynching and having watched her husband die in an alley after being refused treatment by a doctor that she worked for as a cook. The doctor would later ask ‘Auntie” Grace to comfort him as he laid dying while in horrific pain. Ms. McNeal reflects a wondrous faraway look as she recounts the incident and then on a dime her eyes reflect a devilish glint as she reveals her role in the old doctor’s demise.

Tiffany Griffin also appears in Contribution as a domestic named Katy who is terrified of the White rage simmering at the lunch counter. Ms. Griffin gives a nuanced performance that is a counter to Margarette in Herbert III. Throughout the play Grace is the trickster unbeknownst to her employers and family. The trickster is a central character in African American literature whose lineage goes back to slavery and African deities. The trickster always gets the best of the other characters through use of wit and wiles in spite of being seen as a simpleton or otherwise inferior.

Contribution is one of Ted Shine’s better-known plays and has been given a wonderful revival by eta Creative Arts Foundation. In a discussion after the show, director Phyllis Griffin spoke of the need for these stories to be produced as a reminder of how far we as a society still have to go. The worries of the characters are the same and in some cases the struggles are the same in spite of progress. I would recommend a trip to this little traveled corner of Chicago’s South Side to check out the production.

Rating: ★★★½

eta-creative-arts Herbert III and Contribution run Thursday through Sundays until August 22, 2010 at eta Creative Arts Foundation located at 7558 S. South Chicago Avenue. Call 773-752-3955 or for ticket info. Parking is available at the theatre. (Unfortunately, public transportation and Metra are not easily accessible so try to get a carpool going.)