In the totality of the Century Cycle, Wilson covered some of the most turbulent times in American history. It’s history through the lens of the Middle Passage through slavery and reconstruction through post-World War II through civil rights and the aftermath of civil rights. That’s a significant amount of history. But it’s not part of the drama or literary canon.
It’s a difficult discussion to have about race. But it’s not a black thing or a people of color thing. It affects everybody. The reason some teachers give for not teaching Wilson are the language or lack of familiarity with the references. The teachers are so afraid of punitive measures. And how do you, as a white teacher from the suburbs, how do you have a discussion about the N-word in class? How you use it in a discussion about race and history depends on context. If you can’t talk about that word, you can’t talk about history. There are hundreds of years of context. In context, in Two Trains, there are different ways of using it, from affection to disdain. In Radio Golf, one of my favorite speeches is when Sterling talks about the difference between Negros and niggers. It’s the legacy of reconstruction all the way into the 90s. So much of American history has been shaped by the exploitation of masses of people. How can we move forward unless we have a conversation about that history?
One of the things Constanza has been careful about is not letting [Wilson’s] work be exploited and diluted. August was insistent about how his work should be performed. One of the most amazing times in my life was when I saw a debate at Town Hall [in New York] between Wilson and Robert Brustein. Wilson was insistent that his work be performed by and for African-Americans and that a white director did not have the agency to perform. Brustein thought differently. Constanza has been very careful about curating the work. It still has purity. It hasn’t been turned into films, except for The Piano Lesson. Unless you’re living somewhere with access to theater, you don’t see it. The Piano Lesson and Fences are the most accessible. But Wilson’s language has a rhythm and poetry. Not everyone can do it.
I’ve seen Two Trains six times during this run. I’m fascinated to watch Terry Bellamy, who plays Memphis. He was at Penumbra [Theatre, in Saint Paul] when August was getting started. He grew up proficient in that language. He was learning from the guy who created it. I’m jealous of people who got to meet and work with him. I met him once at the Goodman, but I was so awestruck, I couldn’t talk.
Article Appeared @http://www.chicagoreader.com/Bleader/archives/2015/04/09/the-goodmans-willa-taylor-explains-why-playwright-august-wilson-matters