A Rumpled Beginning that Does Reach Its Landing
San Diego is getting a nice dose of Katori Hall this theatre season. New Village Arts will present The Mountaintop in late May, and Cygnet, on its way to their new venue at Liberty Station, is currently playing The Hot Wing King in Old Town.
Katori Hall’s writing is authentic, and her plays carry illuminatory nuggets.
With The Hot Wing King, the launch was rocky due to its 2020 opening, before the pandemic struck, so it didn’t have much time to gain traction among audiences, and the reviews were mixed. But what are reviews anyway? Lol. Still, the play won the Pulitzer Prize for Drama in 2021.
Set in Memphis, Cordell (Rondrell McCormick) the chicken wing experience master, is determined to win the years’ “Hot Wang Festival”. For this, he recruits his partner, Dwayne (Tristan J. Shuler), and their friends, Big Charles (Xavier Daniels) and Isom (Kevane La’Marr Coleman), who are crowned “The New Wing Order.” Dwayne’s nephew, Everett (EJ) (Jocorey Mitchell) is not seeing eye to eye with his dad TJ (Carter Piggee). He stops by to ask his uncle if he can spend the night at their house. The wholesome chicken wing contest activity not only gets marinated with secret ingredients and spices, but also brings out feelings of unresolved issues and truths waiting to come to light.
Katori, in her play, weaves different topics into the story, including sexuality among Black men, family, and taboos. Topics that are not that openly discussed. Then, within those are subtopics sprinkled in that help the audience dive in to know and understand better. The intention is recognized and valued. However, shortly after the first act begins, it seems that all of this is thrown in one after the next, dressed with song, laughs, and dance, which I felt was too much, too fast, and I was getting lost, not knowing if the reason was a cartoonish take on the culture or being able to keep up. Like Hall was figuring it out herself as she wrote it. Then I understood the “mixed reviews” thing.
Towards the end of the first act and the whole second act, the rhythm is in place, and everything makes sense. The playwright is from Memphis, and that essence is imprinted in the play, thick accent and all, which goes back to the illuminatory nuggets mentioned at the beginning of this review.
Cygnet always displays wonderful set designs, but this is one of its best. Audrey R. Casteris’s take on Dwayne’s home is detailed from floor to ceiling, with an upstairs bedroom. The kitchen is beautifully detailed, with tiles on the floor and walls, nicely complemented by Teresa Jove’s many playful props, such as a jar with gray tape. There is a backyard with grass, a small path, and bright lighting that flows in perfectly. I have dreamt of having that setup, but then the maintenance comes to mind, and I leave it be.
Kian Kline-Chilton directed the piece, and their trace is clear as the histrionics unfold in four areas of the set, which are nicely blocked, allowing the audience to follow the movement smoothly. Caroline Andrew’s lighting from the already praised backyard to the rest of the house follows that trace, amplifying each scene. Padra Crisafulli’s sound followed the details, just like all the other creative and technical aspects of this play. There is music playing along with dialogues, silence, pauses, and ambient effects. Crisafulli mixed it all in harmoniously.
Another clear aspect is each actor’s intention. The portrayals are strong, and once the first act takes, they get stronger. I love theatre company debuts mixed in with the actors we know. The dynamic between Xavier Daniels, Kevane La’Marr Coleman, and Rondrell McCormick is fun when it should be, and charged in the essential moments. La’Marr Coleman’s signature comedic relief shone, with Danita Lee’s costumes playing a role in the dynamic. Lee captured each of the characters’ essence in her costume design, featuring super stylish picks from top to sneaker and mule.
Tristan J. Shuler’s Dwayne is suave, with serious dance moves. Carter Piggee has short but mighty interventions, displaying his training once again with great range between comedic and moving moments. It’s hard to believe that this is Jocorey Mitchell’s first professional show, as the young actor has a strong, confident presence, and his portrayal was very good.
Looking forward to seeing more of his work.
The Hot Wing King takes a while to take off, but it certainly lands.
The stage manager for this play is Chandra R.M. Anthenil.
Currently playing until May 2. For more information, click here.
