A deep-fried drama seasoned with real life
I entered the Dorfman auditorium to see a set comprising a lounge where sports on TV would be shouted at, a front door where people come or go in different stages of distress, an upstairs bedroom where breakdowns would be had or arguments fought out, and the main attraction being a kitchen and its central island where chicken wings would be cooked for a competition. I was looking forward to this, writes Michael Holland.
As something in a big pot on the hob slowly simmered the theatre filled with a nicely diverse crowd to watch The Hot Wing King, a Pulitzer-winning play by Katori Hall. When the performance begins we are introduced to four friends: Cordell (Kadiff Kirwan), unemployed and worried about not contributing to the home that he shares with partner Dwayne(Simon-Anthony Rhoden) who pretends he is okay with the way things are; Big Charles (Jason Barnett) and Isom (Olisa Odele), an OTT character who commandeers most of the comedy, mainly with his outrageousness.
As they banter between themselves we pick up that they are the New Wing Order preparing to compete in the annual hot wing contest whose $5000 prize they have never won. But this year they have a new secret recipe that they have high hopes for.
Gradually, as they stir sauce (clockwise with herbs added after every 12 rotations), chop vegetables at a timed competition speed, we get some of the their backstories but as we get nearer to the battle of the hot wings we discover that Cordell and Dwayne have secrets, that Isom uses his flamboyancy to mask insecurities. The heat rises.
EJ(Kaireece Denton) and his wayward father TJ(Diane Walcott) enter this deep-fried drama and season it with real life suicide, gun crime, drugs and robbery. This input of mayhem forces Cordell and Dwayne to seriously re-evaluate their lives and make big decisions – predominantly for the old adage of ‘blood is thicker than water’. Will Dwayne side with his family and will Cordell return to his?
Hall’s dialogue sizzles as the friends wisecrack and show their love for each other, although the Tennessee-street talk whizzed by much of the time, leaving me to rely on audience laughter to gauge the hilarity of what was said. There was a lot of hilarity.
Thankfully, in the serious moments, when characters re-bonded, the lines were delivered slower, allowing us to absorb and enjoy the play more. It became a work that people relate to when they see dysfunction.
The author deserves an award for making the main players gay when there was really no need, but in a play that comes down to men having to come to terms with who they are, their sexuality has to be dealt with too. And making them black and gay can also be seen as brave.
The Hot Wing King did sometimes feel a bit sitcommy, and there was far too much unconvincing eavesdropping to move the narrative forward for my liking, but it was enjoyable watching these six men deal with their problems while they tried to make the best hot wings in Memphis.
The comedy was good, the drama real and all the issues that rose up in that 24 hours were all tidied up nicely. I’m just glad that Jerry Springer didn’t come out at the end to finish off with a final homily.
Dorfman, National Theatre, South Bank, SE1 9PX until 14th September. Times: Mon-Sat 7.30pm; Wed & Sat matinees 2.15pm. Admission: £20 – £64.
Booking: www.nationaltheatre.org.uk
