Review: THE HOT WING KING Brings the Heat—and Heart—to DCPA
Don't miss this bold expression of Black boy joy running through May 25, 2025.
By: Jon Bee May. 15, 2025
DCPA's final show before the summer, The Hot Wing King, brings the 24-25 season to a spicy close, though it is sure to leave you wanting more. Directed by Timothy Douglas and written by Katori Hall, the show is one female playwright's love letter to queer Black men based in her own hometown of Memphis.Â
An intimate cast of six, the play tells the story of a group of friends gearing up for a local hot wing contest under the leadership of their wing master, Cordell. It takes place in the home of Cordell's romantic partner, Dwayne, who finds himself in a rather parental position to his wayward nephew, Everett, much to the chagrin of Cordell. We are also introduced to friends and New Wing Order members Big Charles and Isom who have a history all their own, plus Everett's father, TJ, who wants to do right by his son, but at the cost of doing good.
I am largely always impressed with the scenic designs coming out of DCPA and Tony Cisek's work is no different. I only wish that the design, staging, and transitions would have accommodated more effectively for the outdoor scenes. There are prominent moments that take place on the back patio that deserve more of a focal point rather than being pushed to the wayside.
The ensemble cast does a nice job of functioning as a cohesive unit, but there is certainly a range of experience portrayed amongst the players. Jacques Jean-Mary as the 16 year-old Everett is the least experienced among them. He does well enough at finding the voice of the character but falls short of fully discovering how the character fits in his body. Jean-Mary exhibits some rather elementary acting tropes such as turning away from his scene partner when delivering lines and open gestures with his arms when he is unsure of what else to do with them.
I was perhaps most intrigued, though, with Dayo Olatokun in the role of TJ, Everett's father. There are quite a few "macho" stereotypes that could have easily been assigned to the role that aren't given TJ's illicit business dealings. In particular, a stereotype of violence is typically attributed to his character's archetype that is otherwise absent. There are moments where TJ expresses a level of disagreement with the "lifestyle" of his son's uncle but not so much that he feels the need to disparage Dwayne and the others or keep his son far away from those he fears could influence him negatively. All that is to say, Olatokun does a nice job of playing within the nuance of his character.
Isaiah Tyrelle Boyd as Isom and Tobias A. Young as Big Charles come as a bit of an "odd couple" pairing. It is clear there is history between them, though not too much is revealed beyond the subtleties in their dialogue and interactions. Nevertheless, the friendship they provide to their cohorts is among the more authentic aspects of the plot. I say that to mean they feel familar, as if I know them in real life. They aren't just relatable - Boyd and Young present fully realized and lived-in versions of their characters.
Curtis Wiley is back at DCPA having just appeared in The Suffragette's Murder. As Dwayne, Wiley brings a balanced blend of charisma and care to his portrayal. The archetype of his character is also familiar to me in that I personally know parental figures who can't seem to say no when called upon for rescue, even to a fault. Wiley firmly tackles the objectives of his character to provide not only for his nephew, but his jobless romantic partner. Terence Archie as Cordell, the leader of the New Wing Order, truly delivers in his portrayal. Archie does a great job at capturing the complex nature of his character's motivations. Throughout the play, we see Cordell participate in the camaraderie alongside his fellow queer Black men, while also expressing deep sadness and regret for the estrangement from his children and previous life. There is a yearning for both the past and future in addition to a struggle to deal with the present. Still, to say Archie is well-rounded in the role falls short of his true versatility in the role.
Overall, The Hot Wing King is kind of like its own little safe space for queer Black men. It is a place for Black boy joy to foster and thrive. A point of criticism, however: DCPA does a great job at programming diverse, equitable, and inclusive repertoire from the theatre canon. That being said, I often feel the audience demographic is mismatched from the work. I often consider "who" a theatrical work is "for." Ragtime, as an example, is a Black story, but generally speaking it is for a white audience. This makes sense given the creators of Ragtime are themselves white. The Hot Wing King is for and by Black people, but the audience still favors a white gaze (and gays). I only say this to question the outreach efforts of the DCPA to ensure the audience demographic more closely matches the makeup of our community. Shows like this deserve to be admired by the folks they are about, not just the regular subscription base.
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