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Train He Rides

August Wilson's new play about the blues

Seven Guitars by August Wilson
At ACT in San Francisco

Review by John Papageorge

It's a long train ride from Pittsburgh to Chicago. Floyd, a blues guitarist with an offer to record an album in the Windy City, is determined to make the trek in August Wilson's new play, Seven Guitars. Unfortunately, American Conservatory Theater's new San Francisco production meanders and pauses like a locomotive destined to make several long stops before its final destination.

And that's a shame, because Wilson has written a smart, humorous script with a rich use of language and well-developed characters. But the play, which clocks in at over three hours, visits and revisits the same plot points often nestled within superfluous scenes that ultimately halt the momentum of the piece.

The play begins at the funeral of Floyd "Schoolboy" Barton. As the gathered friends reflect on Floyd, the play flashes back to tell the story of his final days. The cast of characters includes Vera, Floyd's old flame who--despite being "dogged" once by Floyd--gives in again to his seductive charm. Vera's friend Louise, played with good humor and a deft dramatic sensibility by actress Michele Shay, tries to convince Vera that despite Floyd's intentions, he's no good.

Floyd, created with panache, confidence and reckless energy by Keith David, wants former band members harmonica player Canewell and drummer Red Carter to come with him to Chicago. But Canewell insists Floyd put his money where his mouth is if they're going to follow him. "When the record comes out, it's going to have your name on it--not mine," says Canewell.

Canewell (Ruben Santiago-Hudson) and Red Carter (Tommy Hollis) are two of the play's real treats. Santiago-Hudson plays Canewell with fine deadpan comedic timing, spitting out the play's rapid fire dialogue and allowing the humor of the moment to become clear as an afterthought. Hollis benefits from a powerful voice that resonates through the Marines Memorial Theatre. He also shows good comedic timing and a strong presence.

In one funny scene, Red explains to Floyd and Canewell that getting a job to him meant getting women every day of the week. But so many complications arose when Red wanted to see his Tuesday girl on Saturday and move his Friday girl to Sunday that, he explains, exasperated, "I figured the best thing for me to do was quit my job."

Wilson seems most attentive to the character of Hedley, a butcher suffering from tuberculosis with an apocalyptic vision of the black man's plight. In another strong performance in an exceptional cast, actor Zakes Mokae commands attention with an intense conviction to character when ranting about a mythical man who'll bring him riches, his dream of owning his own plantation and an episode in which he confesses to killing a man who made fun of his birth name.

With his great ear for the cadences of American speech, Wilson has created a thoughtful script that reads believably and performs naturally, but Lloyd Richards' direction goes astray with several second-act scenes that distract, add nothing and, ultimately, drain the piece of its energy and dramatic impact.

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Seven Guitars plays at the Marines Memorial Theatre, 609 Sutter St., San Francisco through Dec. 23; shows are Tuesday, Thursday­Friday at 8pm (except Nov. 21 at 7pm); Wednesday at 2 and 8pm; Saturday at 2 and 8pm; Sunday at 3pm (except Nov. 26 and Dec. 3 at 8pm). For ticket information call (415) 749-2ACT.


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