Eugene Lee in "How I Learned What I Learned" (photo: T. Charles Erickson) |
“For the first 244 years, we never had a problem
finding a job; but since 1863, it's been hell.” So begins the verbal saga of Wilson in Huntington
Theatre Company's production of How I Learned What I Learned, his
final theatrical work. It's a portrait of a poet as a young man,
co-conceived by Wilson (with his friend Todd Kreidler) before his
untimely death at 60 from cancer in 2005. Featuring Lee as the
playwright and numerous characters in his life, it's a 100-minute
bravura display, not in imitation of the late renowned playwright,
but a loving attempt to “conjure his essence”. It's not unlike
discovering you've invited to your party the perfect guest. How we
have learned what we've learned from his body of work is the at the
center of this play. And what a marvelous coda to Wilson's and
Huntington's shared history it turns out to be.
Anything in the author's past is grist for his mill,
from his life in the Hill District of Pittsburgh (where most of his
plays take place) to the dissection of the meanings of the word
“black” in the dictionary, not merely its definitions, but its
connotations as well. He also tackles his Mother Daisy and a washing
machine as a symbol of pride, as well as her wise words such as
“something is not always better than nothing”, and his
realization of the “limitations of (his) instrument.” In 2003
Wilson himself performed this piece in Seattle, noting that reading
his poetry was a solitary act, whereas a theatrical audience is a
communal experience. He asked about what his identity was and how it
could forge his path to the future; he dealt with lessons that were
learnable only through human interaction. His view was that all art
is political in the sense that it serves someone's politics, and
theater particularly was a “collected mythology, celebrating a
common humanity”. Throughout this play, the issue of respect, and
how Wilson expected and demanded it, is at his core.
This work was last seen in 2013 off-Broadway, and is
quite an appropriate choice for this company, as Huntington has
staged all ten of the plays in his Century Cycle, eight of them as
world premieres. Even the intriguing set by David Gallo (who also
did the Projection Design) serves as a reminder of his output,
cluttered with detritus (such as a mangled trumpet or a golf club)
that echoes his works from Gem of the Ocean, taking place in
the 1900's, wherein 285-year-old Aunt Ester redeemed souls, to Joe
Turner's Come and Gone, in the 1910's, set at a boardinghouse
where folks looked for lost family members, to Ma Rainey's Black
Bottom, in the 1920's, about recording a musical heritage amidst racial strife.
The remaining plays in the Century Cycle include, chronologically:The
Piano Lesson (the 1930's, in which Boy Willie wishes to sell the
family piano and his sister Bernice opposes him since the family's
history is carved upon it), Seven Guitars (the 1940's, wherein
Floyd Barton needs the fare for a bus ticket), Fences (the
1950's, with jealous Troy Maxson ruining his son's sports career),
Two Trains Running (the 1960's, in which Sterling Johnson tries
to put his life together post-incarceration), Jitney (the
1970's, about cabbies who go where most cabbies won't), King
Hedley II (the 1980's, where King and Mister sell stolen
refrigerators) and Radio Golf (the 1990's, when Aunt
Ester's house is slated for destruction).The technical team also
includes Creative Consultant and Costume Designer Constanza Romero
(Wilson's widow), Lighting Designer Thom Weaver and Sound Designer
Dan Moses Schreier. All have worked in tandem to produce a wondrous
encounter with Wilson, especially with the use of typing sounds and
projected words on a wall of blank pages, an ingeniously coordinated
collaboration.
The charming Lee performs so smoothly and effortlessly
that one is barely aware of the passing of time. It's as though
Wilson himself has returned for one last opportunity to share. It's
a reminder of the playwright's tremendous gifts given over his
all-too-brief career. As enacted by Lee, this is a warm, wise and
witty farewell from a truly august playwright, and an exceptional
piece of theater. In preparation and execution, it's easily the
finest theatrical work of the season.
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