August Wilson

Wilson knew that he wanted to be a writer, but this created tension with his mother, who wanted him to become a lawyer. She forced him to leave the family home and he enlisted in the United States Army for a three-year stint in 1962, but he left after one year and went back to working various odd jobs as a porter, short-order cook, gardener, and dishwasher.

Frederick August Kittel Jr. changed his name to August Wilson to honor his mother after his father's death in 1965. That same year, he discovered the blues as sung by Bessie Smith, and he bought a stolen typewriter for $10, which he often pawned when money was tight.[9] At 20, he decided he was a poet and submitted work to such magazines as Harper's.[5] He began to write in bars, the local cigar store, and cafes—longhand on table napkins and on yellow notepads, absorbing the voices and characters around him. He liked to write on cafe napkins because, he said, it freed him up and made him less self-conscious as a writer. He would then gather the notes and type them up at home.[5] Gifted with a talent for catching dialect and accents, Wilson had an "astonishing memory", which he put to full use during his career. He slowly learned not to censor the language he heard when incorporating it into his work.[9]

Wilson's childhood home at 1727 Bedford Avenue in Pittsburgh

Malcolm X's voice influenced Wilson's life and work (such as The Ground on Which I Stand, 1996). Both the Nation of Islam (NOI) and the Black Power movement spoke to him regarding self-sufficiency, self-defense, and self-determination, and he appreciated the origin myths that Elijah Muhammad supported. In 1969 Wilson married Brenda Burton, a Muslim, and became associated with the NOI, though he reportedly did not convert.[10] He and Brenda had one daughter, Sakina Ansari-Wilson. The couple divorced in 1972.[6]

In 1968, along with his friend Rob Penny, Wilson co-founded the Black Horizon Theater in the Hill District of Pittsburgh.[5] Wilson's first play, Recycling, was performed for audiences in small theaters, schools and public housing community centers for 50 cents a ticket. Among these early efforts was Jitney, which he revised more than two decades later as part of his 10-play cycle on 20th-century Pittsburgh.[6] He had no directing experience.[5] He recalled: "Someone had looked around and said, 'Who's going to be the director?' I said, 'I will.' I said that because I knew my way around the library. So I went to look for a book on how to direct a play. I found one called The Fundamentals of Play Directing [11] and checked it out."[9]

In 1976, Vernell Lillie, who had founded the Kuntu Repertory Theatre at the University of Pittsburgh two years earlier, directed Wilson's The Homecoming. That same year Wilson saw Athol Fugard's Sizwe Banzi is Dead, staged at the Pittsburgh Public Theater, the first time he attended professionally produced drama. Wilson, Penny, and poet Maisha Baton then founded the Kuntu Writers Workshop to bring African-American writers together and to assist them in publication and production. Both organizations remain active.

In 1978 Wilson moved to Saint Paul, Minnesota, at the suggestion of his friend, director Claude Purdy, who helped him secure a job writing educational scripts for the Science Museum of Minnesota.[5] In 1980 he received a fellowship for The Playwrights' Center in Minneapolis. He quit the museum in 1981, but continued writing plays. For three years, he was a part-time cook for the Little Brothers of the Poor. Wilson had a long association with the Penumbra Theatre Company of St. Paul, which premiered some of his plays. He wrote Fullerton Street, which has been unproduced and unpublished, in 1980. It follows the Joe Louis/Billy Conn fight in 1941 and the loss of values attendant on the Great Migration to the urban North.[6]

Throughout the 1980s, Wilson wrote the majority of his work including Jitney (1982), Ma Rainey's Black Bottom (1984), Fences (1985), Joe Turner's Come and Gone (1986), and The Piano Lesson (1987).

In 1987, St. Paul's mayor George Latimer named May 27 "August Wilson Day". He was honored because he is the only person from Minnesota to win a Pulitzer Prize for Drama.[6]

In 1990 Wilson left St. Paul after getting divorced and moved to Seattle. There he developed a relationship with Seattle Repertory Theatre, which produced his entire 10-play cycle and his one-man show How I Learned What I Learned.[6]

Though he was a writer dedicated to writing for theater, a Hollywood studio proposed filming Wilson's play Fences. He insisted that a Black director be hired for the film, saying: "I declined a White director not on the basis of race but on the basis of culture. White directors are not qualified for the job. The job requires someone who shares the specifics of the culture of Black Americans." The film remained unmade until 2016, when Denzel Washington directed the film Fences, starring Washington and Viola Davis. It earned Wilson a posthumous Oscar nomination.[12]

Wilson received many honorary degrees, including an honorary Doctor of Humanities from the University of Pittsburgh, of which he was a trustee from 1992 until 1995.[13]

Wilson maintained a strong voice in the progress and development of the (then) contemporary Black theater, undoubtedly taking influences from the examples of his youth, such as those displayed during the Black Arts Movement. One of the most notable examples of Wilson's strong opinions and critiques of what was Black theater's state in the 1990s, was the "On Cultural Power: The August Wilson/Robert Brustein Discussion" where Wilson argued for a completely Black theater with all positions filled by Blacks. Conversely, he argued that Black actors should not play roles not specifically Black (e.g., no Black Hamlet). Brustein heatedly took an opposing view.

In 2005, Wilson's final installment in his ten-part series The Century Cycle, titled Radio Golf, opened. It was first performed in 2005 by the Yale Repertory Theatre in New Haven, Connecticut and had its Broadway premiere in 2007 at the Cort Theatre. It would become known as Wilson's final work.[14]

Wilson's Pittsburgh Cycle,[17] also often referred to as his Century Cycle,[18] consists of ten plays—nine of which are set in Pittsburgh's Hill District (the other being set in Chicago), an African-American neighborhood that takes on a mythic literary significance like Thomas Hardy's Wessex, William Faulkner's Yoknapatawpha County, or Irish playwright Brian Friel's Ballybeg. The plays are each set in a different decade and aim to sketch the Black experience in the 20th century and "raise consciousness through theater" and echo "the poetry in the everyday language of Black America".[9] His writing of the Black experience always featured strong female characters and sometimes included elements of the supernatural. In his book, he wrote "My mother's a very strong, principled woman. My female characters . . . come in a large part from my mother"[19]

As for the elements of the supernatural, Wilson often featured some form of superstition or old tradition in plays that came down to supernatural roots.[20] One of his plays well known for featuring this is The Piano Lesson. In the play, the piano is used and releases spirits of the ancestors. Wilson wanted to create such an event in the play that the audience was left to decide what was real or not. He was fascinated by the power of theater as a medium where a community at large could come together to bear witness to events and currents unfolding.[9]

Wilson told The Paris Review:

I think my plays offer (White Americans) a different way to look at Black Americans. For instance, in Fences they see a garbageman, a person they don't really look at, although they see a garbageman every day. By looking at Troy's life, White people find out that the content of this Black garbageman's life is affected by the same things – love, honor, beauty, betrayal, duty. Recognizing that these things are as much part of his life as theirs can affect how they think about and deal with Black people in their lives.[5]

Although the plays of the cycle are not strictly connected to the degree of a serial story, some characters appear (at various ages) in more than one of the cycle's plays. Children of characters in earlier plays may appear in later plays. The character most frequently mentioned in the cycle is Aunt Ester, a "washer of souls". She is reported to be 285 years old in Gem of the Ocean, which takes place in her home at 1839 Wylie Avenue, and 349 in Two Trains Running. She dies in 1985, during the events of King Hedley II. Much of the action of Radio Golf revolves around the plan to demolish and redevelop that house, some years after her death. Aunt Ester is a symbolic and recurring figure that represents the African-American struggle. She is "not literally three centuries old but a succession of folk priestesses... [s]he embodies a weighty history of tragedy and triumph".[21] The plays often include an apparently mentally impaired oracular character (different in each play)—for example, Hedley Sr. in Seven Guitars, Gabriel in Fences, Stool Pigeon in King Hedley II, or Hambone in Two Trains Running.

Chicago's Goodman Theatre was the first theater in the world to produce the entire 10-play cycle, in productions which spanned from 1986 to 2007. Two of the Goodman's productions—Seven Guitars and Gem of the Ocean—were world premieres.[23] Israel Hicks produced the entire 10-play cycle from 1990 to 2009 for the Denver Center Theatre Company.[24] Geva Theatre Center produced all 10 plays in decade order from 2007 to 2011 as August Wilson's American Century. The Huntington Theatre Company of Boston has produced all 10 plays, finishing in 2012. During Wilson's life he worked closely with The Huntington to produce the later plays. Pittsburgh Public Theater was the first theater company in Pittsburgh to produce the entire Century Cycle, including the world premiere of King Hedley II to open the O'Reilly Theater in Downtown Pittsburgh.[25]

TAG – The Actors' Group, in Honolulu, Hawaii, produced all 10 plays in the cycle starting in 2004 with Two Trains Running and culminating in 2015 with Ma Rainey's Black Bottom. All shows were Hawaii premieres, all were extremely successful at the box office and garnered many local theatre awards for the actors and the organization. The Black Rep in St. Louis and the Anthony Bean Community Theater in New Orleans have also presented the complete cycle.

In the years after Wilson's death the 10-play cycle has been referred to as The August Wilson Century Cycle[26] and as The American Century Cycle.[27]

Two years before his death in 2005, August Wilson wrote and performed an unpublished one-man play entitled How I Learned What I Learned about the power of art and the power of possibility. This was produced at New York's Signature Theatre and directed by Todd Kreidler, Wilson's friend and protégé. How I Learned explores his days as a struggling young writer in Pittsburgh's Hill District and how the neighborhood and its people inspired his cycle of plays about the African-American experience.[28]

• August Wilson on Charlie Rose
• August Wilson on Blackness, Bill Moyers, A World of Ideas, October 20, 1988.
• Bonnie Lyons, George Plimpton (Winter 1999). "August Wilson, The Art of Theater No. 14". The Paris Review. Winter 1999 (153).
• NPR Intersections: August Wilson, Writing to the Blues, March 1, 2004, audio interview (6 mins).
• Interview with Wilson, The Believer, November 2004.
• Putting Up Fences, article with video, BU Today, September 17, 2009.

• "Theater Is to Be Renamed for a Dying Playwright", The New York Times, September 2, 2005.
• Pittsburgh Post-Gazette obituary, October 3, 2005
• "August Wilson, Theater's Poet of Black America, Is Dead at 60", The New York Times, October 3, 2005.
• Margaret Busby, "August Wilson – Distinguished black American playwright who reclaimed the stories of his people", The Guardian, October 4, 2005.