Original language English First performance 11 December 1999 Nominations Pulitzer Prize for Drama | Date premiered December 11, 1999 Series The Pittsburgh Cycle Setting Pittsburgh Genre Drama | |
 | ||
Place premiered Pittsburgh Public TheaterPittsburgh, Pennsylvania Subject a man's salvation and a quest for redemption for a family and a people Similar August Wilson plays, Dramas | ||
King hedley ii the tony awards
King Hedley II is a play by American playwright August Wilson, the ninth in his ten-part series, The Pittsburgh Cycle. The play ran on Broadway in 2001 and was revived Off-Broadway in 2007.
Contents
Productions
King Hedley II premiered at the Pittsburgh Public Theater in Pittsburgh, Pennsylvania, on December 11, 1999, and played a number of other regional theaters, including Seattle, Boston, Los Angeles, Chicago, and Washington before its Broadway engagement.
The play opened on Broadway at the Virginia Theatre on May 1, 2001 and closed on July 1, 2001, after 72 performances and 24 previews. Directed by Marion McClinton, the cast featured Brian Stokes Mitchell (King), Leslie Uggams (Ruby), Charles Brown (Elmore), Viola Davis (Tonya), Stephen McKinley Henderson (Stool Pigeon), and Monté Russell (Mister).
The play ran off-Broadway at the Peter Norton Space, New York City, in a Signature Theatre Company production, from March 11, 2007, through April 22, 2007, in a season that featured Wilson's work.
Plot synopsis
King Hedley II is the ninth play in August Wilson’s ten-play cycle that, decade by decade, examines African American life in the United States during the twentieth century. Set in Pittsburgh, Pennsylvania in 1985, it tells the story of an ex-con in Pittsburgh trying to rebuild his life. The play has been described as one of Wilson's darkest, telling the tale of a man trying to save $10,000 by selling stolen refrigerators so that he can buy a video store, as well as revisiting stories of other characters initially presented in Seven Guitars.
Hedley’s wish, now that he has returned to Pittsburgh from prison, is to support himself by selling refrigerators and to start a family. Set during the Reagan administration, the play comments critically on the supply-side economics theories of the day, examining whether their stated aim of providing trickle-down benefits to all Americans truly improved the lot of urban African Americans.
Some of the characters in this play were presented earlier in Seven Guitars; this leads to a bit of confusion, as Wilson anticipates that audiences will remember these characters from a play produced seven years earlier. If they fail to remember them, then they may at times be bewildered by a lack of information about them in the present play.