‘King Hedley II’ Is A Gripping Story Of Dreams And Consequences
A gripping portrait of a man caught between the life he wants and the past he can’t escape, City Lit Theatre’s production of King Hedley II pairs an intensely unpredictable central performance with a charismatic ensemble to bring August Wilson’s exploration of family, trauma, and personal responsibility to life.
I have an admission to make: I have never seen an August Wilson play. I could have watched the films like Fences and Ma Rainey’s Black Bottom, but I’ve always wanted to experience his work the way it was intended to be seen: on the stage. The few times I’ve had the opportunity to see his plays produced, I haven’t been able to make it, so I was very much looking forward to my first exposure to August Wilson, and I was not disappointed.
King Hedley II takes place in Pittsburgh’s Hill District in 1985. “King Hedley, a man recently released from prison, attempts to rebuild his life by selling stolen refrigerators so he can buy a video store. Despite decades of generational trauma, can King break free from the crippling socio-economic struggles that have held him down? Amid the realities of rampant crime and drug use in the neighborhood community, he tries to carve out his own destiny.”
Written by August Wilson and directed by Manny Buckley, this new production at City Lit Theatre is a continuation of Wilson’s The Pittsburgh Cycle, with Seven Guitars having been produced last season. The tone and subjects are often serious, but there is a lot of levity and many laughs to be had as well.
The setting for King Hedley II is a backyard situated between two houses, one with red brick and crawling ivy, fading blue paneling, and a white door beneath a wooden porch covered in discarded newspapers. The other features a similar weathered paneling and a wooden screen door that offers a glimpse inside, where photos hang on the wall. A narrow gangway separates the houses, while a small patch of dirt, a lawn chair, and a few wooden boxes complete the backyard. It’s immediately clear that this is a lived-in space where family and friends spend much of their time.
In the house with the red brick lives Stool Pigeon (played by a passionate Brandon Boler), a prophetic figure that everyone tolerates despite his zealous talk of God and what lies ahead. He functions almost like a Greek chorus, observing and commenting on the lives unfolding around him while remaining somewhat separate from the others, most of whom live next door.
The entire ensemble is present and purposeful, with natural chemistry between the actors and at least one standout moment for each. One of the most affecting comes in Isis Elizabeth’s portrayal of Tonya, whose heart-wrenching monologue about a parent having to identify their dead child among so many others brought many audience members to tears. She describes a world in which even the undertaker no longer cares to look at the bodies, and it is a powerful showstopper.
But it is James Lewis as King that drives the show in both story and energy. Mr. Lewis’s King is tough, raw, vulnerable, and incredibly pained, as he waivers between knowing that he is meant for something more and the continued realization of who he is and what he’s done. His growls and impassioned shouting next to the desperately tender moments are magnetic. You never know what his next choice will be, but everything is on the table. Everything. That unpredictability makes his performance both slightly intimidating and immensely compelling.
The sound and lighting designs also make a strong impression. Ominous bells, thunder and lightning, and police sirens heighten the tension, while the lighting shifts during monologues, isolating a character as the rest of the stage fades away. In one particularly effective moment, the blue and red of police lights fill the character’s space as they speak, adding another layer to the scene’s impact.
King Hedley II explores poverty, race, family history, legacy, and the competing voices of good and evil that influence our choices. Each character has their own expectations for the future, but the paths forward are complicated by the past and by the people around them. This production has so much going on that I was shocked when the first act ended – I had been so engrossed in the story that I had completely lost track of time.
Whether you’re already familiar with August Wilson or discovering his work anew, King Hedley II offers an absorbing introduction to a playwright whose stories continue to speak to the world we live in today. This is a production you’re not going to want to miss.
King Hedley II runs for approximately 3 hours including a 10-minute intermission. It is suitable for ages 14 and up.
King Hedley II is playing at the City Lit Theater through 11/29/2026. Tickets can be purchased through the City Lit Theater website. City Lit Theater is located at 1020 W. Bryn Mawr Ave. Chicago, Il 60660 (Inside Edgewater Presbyterian Church).