'Seven Guitars' plays quite well with others

Review

Like chapters in a well-written novel, some are more engaging than others but they still serve to tell the whole story. The same can be said for August Wilson's "Seven Guitars," one of 10 plays in his Century Cycle chronicling the black experience during the 20th century.

His dialogue and characters are on par with those of the other works in the series. Yet unlike "Fences" and "Ma Rainey's Black Bottom," for example, "Seven Guitars" doesn't pack the same punch with its storyline. This play needs the brilliance of the other "chapters" to buoy it, but at the same time it's a vital component for creating and perpetuating Wilson's world.

That said, American Stage Theatre Company selected "Seven Guitars" as its fifth installment of the Wilson cycle. This beautifully realized production was directed by Bob Devin Jones and featured Frank Chavez's evocative set design.

In 1948, blues musician Floyd "Schoolboy" Barton (Joshua Elijah Reese) returns home to Pittsburgh's Hill District. He broke Vera's (Ambe Williams) heart when he ran off to Chicago with another woman. But he's back, and he aims to take Vera to Chicago and make his way as a famous musician. He already has one hit record, minus the money, but it's only a matter of time before fame and fortune collide.

Yet we know from the play's beginning that Floyd never fulfills that dream. Vera, Louise (Tia Jemison), Red Carter (Alan Bomar Jones), Canewell (Kim Sullivan) and Hedley (Ron Bobb-Semple) have returned from Floyd's funeral. The remainder of Act I and Act II show us what really happened to Floyd "Schoolboy" Barton.

Alan Bomar Jones and Sullivan, both veterans of American Stage's Wilson productions, were infectiously dynamic. They infused their characters with vitality and truth, clearly in full understanding of what drives Red and Canewell.

Guyana-born Bobb-Semple also is no stranger to this playwright's work. As Hedley, he let the crazy build slowly. He portrayed a sympathetic yet dangerous man — a man whose usually mild demeanor betrayed his inner volatility. He scared me more than any other character harboring arms.

Reese is a founding member of the August Wilson Theatre Ensemble in Pittsburgh, so he slipped easily into the role of Floyd. He charmed and cajoled well.

As Vera, Williams was placid and unassuming, which was true to the person Wilson created. Meanwhile, Jemison portrayed a feisty, no-nonsense Louise with a great singing voice. She was funniest when reproaching her flirty, sassy niece, Ruby (Brandy Grant).

Finally, newcomer Grant showed promise in her first professional role. She deftly switched gears from opportunistic vixen to tired young woman trying to make life work for her.