The first thing you notice stepping into James Ijames’s production of “King Hedley II” at the Arden Theatre in Philadelphia is the eye. Painted on the set’s far center wall and illuminated by a warm yellow light, that eye immediately tells us that someone is watching every event unfold in this small pocket of Pittsburgh’s Hill District where “King Hedley II” is set. Throughout the two hour and forty-five minute runtime, despite blackouts and scene changes, the eye remains lit.
As written in the script, the eye belongs to Willie Mays and remains plastered on the wall in a faded Alaga Syrup advertisement, but it seems to take on different characters throughout the play. Perhaps it is Aunt Ester, the 366-year-old wise woman whose presence is felt and heavily discussed throughout the play but never appears on stage. Perhaps it is King’s ex-girlfriend, Neesi. Perhaps it is even the eye of God. Ghosts surround the characters of “King Hedley II,” and the ever-present eye serves as an unrelenting reminder of their proximity.
“King Hedley II” is the ninth play in August Wilson’s ten-part series, The Pittsburgh Cycle, through which Wilson set out to place Black American culture “onstage in all its richness and fullness and to demonstrate its ability to sustain us … through profound moments of our history in which the larger society has thought less of us than we have thought of ourselves.” Directed by James Ijames, Pulitzer Prize-winning playwright of “Fat Ham,” this show marks the Arden’s sixth production from the Cycle since 2005. Set in 1985 Pittsburgh, “King Hedley II” follows King, played by Akeem Davis, as he struggles with questions of hope, honor, and his own history.
It should be no surprise that Thom Weaver’s lighting and set design seamlessly work together to immerse the audience in the world of August Wilson’s Hill District. But it isn’t only Weaver’s work that sustains the play’s vivid atmosphere. Daniel P. Ison’s attentive and detail-oriented sound design creates an immersive city environment, and the costumes — designed by Swarthmore College’s Costume Shop Manager Levonne Lindsay — does justice to the characters’ spirits, working in conversation with the set.
It might have taken a moment for the actors to ease into their performance, but they quickly warmed up. By the second act, they were undoubtedly on fire. Under Ijames’s direction, each actor had a moment to shine, from Ruby (Kimberly S. Fairbanks) re-living her singing days to Tonya (Taysha Marie Canales) in a raw, defiant monologue on motherhood. Kash Goins as the smooth-talking Elmore was dangerously charismatic, and Mister (Dax Richardson), King’s best friend and occasional partner-in-crime, was a performance packed with energy.
Akeem Davis as the titular King Hedley II delivered an honest performance of a dreamer, bound by a sense of honor and in pursuit of a better future for himself and his family. King is not perfect — he is selfish, makes mistakes, and occasionally hurts his loved ones — but Davis’s sincerity makes King an easy character to love and root for, despite his shortcomings.
In his Arden debut, Monroe Barrick stole the show as Stool Pigeon. His physicality and ear for timing makes the character come alive. Barrick mastered the art of listening, whether from behind a newspaper or while eating lunch. Sometimes silly, sometimes wise, and sometimes a bit of both, Barrick’s performance is a must-see.
In his Note from the Director, James Ijames expresses his goal for the audience: “I hope you cry when someone is lost, I hope you laugh when someone is funny, and I hope you rejoice when someone chooses life instead of death.” Leaving the Arden at the end of the show, I certainly felt the emotional catharsis Ijames describes. I cried, laughed, mourned and rejoiced as I watched “King Hedley II” — and I think you will, too.
“King Hedley II” will be playing at the Arden through March 30, with post-show talkbacks on Wednesday, March 12, 2025 at 7:00 PM and Sunday, March 23, 2025 at 2:00 PM.
