Arts

Poetic Guitars

by Jules Becker
Thursday Feb 23, 2023

Omar Robinson, Johnnie Mack, Regine Vital, Dereks Thomas, Anthony T Goss, and Maya Carter in August Wilson's "Seven Guitars" at Actors' Shakespeare Project. (Courtesy Ken Yotsukura Photography)
Omar Robinson, Johnnie Mack, Regine Vital, Dereks Thomas, Anthony T Goss, and Maya Carter in August Wilson's "Seven Guitars" at Actors' Shakespeare Project. (Courtesy Ken Yotsukura Photography)  

Seven Guitars, Actors' Shakespeare Project at Hibernian Hall, Boston, through March 5. actorsshakespeareproject.org


An August Wilson play is a perfect commemoration of Black History Month as well as great theater. After all, the Bard of Pittsburgh chronicled the challenges and experiences of his fellow African-Americans in ten plays—also known as the Century Cycle--each set in respective decades of the 20th century. Recently Huntington Theatre Company—which showcased the entirety of the dramatist's amazing achievement over the years—returned to "Joe Turner's Come and Gone"(1984) in a lustrous production that more than befit its renovation. Now gifted Maurice Emmanuel Parent—a member of that superb cast—is orchestrating a powerful Actors' Shakespeare Company staging of the playwright's 1995 tragicomedy "Seven Guitars"—one that does equal justice to Wilson's rich insights here about the Black experience.

Here Wilson frames those insights in a two-act play that begins and ends in the backyard of a 1948 Pittsburgh boarding house—(designed by Jon Savage with attention to the characters' precarious fortunes) after the death of blues singer Floyd Barton. With vivid backstory and flashback, "Seven Guitars" tells the story of the 35 year old black male's struggle to find acceptance and validation just as he appears to be on the verge of professional fulfillment. 'Schoolboy' Barton is eager to follow-up on his first hit "That's All Right"(1947). Buoyed by a letter from the president of Savoy Records in Chicago, he means to take girlfriend Vera Dotson with him to share his new opportunity. Floyd needs to believe in himself, but loving Vera seems resistant to leaving Pittsburgh. At the same time, sassy fellow tenant Louise—part realist, part skeptic—advises that Vera would be better off with the 'ugly' iceman than with her boyfriend.

Responsible Louise insists that elusive and self-promoting Hedley—who repeatedly declares that he will be a big man and have a black plantation —pay his rent and quips that there are no plantations in Pittsburgh. Bible-quoting fifty-nine year old Hedley insists that he will have his time. Floyd's fellow musicians--harmonica-playing Canewell and drummer Red Carter —wonder whether they figure in Floyd's plans.

Even Floyd's plans are doubtful. His no-show white manager may have issues of his own. Floyd's unjust workhouse stint and pawnshop hawking of his performance guitar reflect the ongoing obstacles faced by enterprising young black men. Of course opportunities have improved for African-Americans, but the double standards and manipulation which confront many of Wilson's characters still ring true if sometimes with subtlety.

Director Parent skillfully conducts the poetic rhythms and pulsating possibilities that run through the speeches and songs of "Seven Guitars." Anthony T-Goss has all of Floyd's alternating optimism and frustration. He has the ambitious boyfriend's style and panache—in Nia Safarr Banks' smart costuming-- as he romances Vera. Maya Carter finds Vera's sweetness and vulnerability. Regine Vital is a big-hearted standout as tough-talking Louise—especially as she speaks of her gun as all the man she needs. Johnnie Mack captures Hedley's bravado and vitality—especially as he speaks of kingship and invokes the spiritual image of the Lion of Judah. Rounding out the strong ensemble are Omar Robinson's love-philosophizing Canewell, Dereks Thomas' promiscuous Red and notably Valyn Lyric Turner's outspoken Ruby.

At one point Red despairs that "God never lets you roll the dice." With humor, music, and stories of spirit and dignity, Wilson improves the odds. Audiences need not question their chances at Hibernian Hall. Parent and the dynamic ASP cast are making "Seven Guitars" a sure thing.