Critics Revisit August Wilson's Seven Guitars at the Signature

The late, great August Wilson's sprawling, bluesy drama Seven Guitars has brought its music to off-Broadway's Signature Theatre. The work, set in the 1940s, features direction by Ruben Santiago-Hudson, who starred in the original Broadway mounting in 1996. Did critics find the revival pitch-perfect?

Here's a sampling of what they had to say:

Rob Kendt in his Broadway.com Review: "'In the original version, I had seven guys with seven guitars onstage,' August Wilson once told me of the inspiration for his 1996 play, Seven Guitars, now in a lavish, lovingly cast, near-perfect new production at the Signature Theatre, directed by Ruben Santiago-Hudson…. it is not Wilson's masterpiece, although Santiago-Hudson—who appeared as the insinuating Canewell in the play's Broadway production—makes about as strong a case for the play as can be imagined. Its mix of naturalism and the supernatural is less than surefooted, but for most of its luxuriant running time two hours, 45 minutes, it plays so fluidly we aren't likely to notice."

Ben Brantley of The New York Times: "Directed with the intimacy and warmth of a fraternal embrace by Ruben Santiago-Hudson—and performed by seven ensemble members whose characters you come to know as if you had been seeing them every day for years—this production could scarcely be bettered as a reminder of the life force that courses through every word Wilson wrote…. And of course there is music, which here assumes an ineffable strength that rivals that of death. 'One day you be walking along, and the music jump on you,' Floyd says. 'It just grab hold of you and hang on.' And so it does, in a spontaneous jam session that bubbles up among the men, or a saucy dance in celebration of a victory by the boxer Joe Louis in which bubbly sensuality turns ominous. This metabolic shift in mood—of joy and geniality shading into violence—is repeated throughout the production with subtle, skilled insistence…. Every member of the ensemble has soaring moments, but no one ever rends the play's larger fabric by grandstanding."

Frank Scheck of The New York Post: "Lovingly directed by Ruben Santiago-Hudson, the revival of Seven Guitars that opened last night provides reassurance, if any were needed, that August Wilson's plays will endure…. Running nearly three hours, Seven Guitars stalls at times, and its diffuse narrative is rambling and unfocused. But it also features rich dialogue and characterizations, and displays a texture and authenticity rarely seen. Santiago-Hudson—who won a Tony for his performance in the original version—has provided a perfectly pitched production, eliciting sterling work from his fine ensemble. Blues veteran Bill Sims Jr. has provided a terrific original music score."

Joe Dziemianowicz of The New York Daily News: "Directed with assurance by Ruben Santiago-Hudson—who won a Tony for his role in the play in 1996—the cast sparks emotional electricity from the story of blues musician Floyd Barton Lance Reddick…. Reddick wows as Floyd, a man whose dream turns to frustration and despair. Ruff is remarkable as she struggles to let him back into her life. Pressley taps Louise's comic potential without being cartoony, while Henderson and Carroll bring warmth and charisma to their roles. Freeman oozes sexuality - and compassion. Weldon deftly embodies Hedley, whose rants carry measures of insanity and insight."

David Rooney of Variety: "If the production doesn't ultimately satisfy on all levels, it offers considerable rewards while capturing the poetry and humanity that distinguished the late playwright…. The chief asset [Ruben Santiago-Hudson] brings as director of this revival is a keen ear for the lyrical qualities of Wilson's dialogue…. But while Santiago-Hudson has a firm hold on the language and an elegant sense of stage composition, his weaker narrative and thematic grasp point up the play's flaws. Concision was never among Wilson's primary strengths, and "Seven Guitars" is a particularly meandering work…. Wilson displayed a rare gift for imbuing everyday people, their conversations and stories with epic resonance. While his production falls short of some of the larger aims, Santiago-Hudson captures the heart of the play, rendering its specific evocation of milieu and mood and its beautifully etched characters with respect and affection."

Michael Kuchwara of The Associated Press: "It takes accomplished actors to find the rhythms in this special piece, and not all the performers in the Signature Theatre Company's fitful revival, which opened Thursday, are up to the task. But then, memories of the blazing original Broadway production in 1996 are hard to shake, and the current cast, with one or two exceptions, is still searching for Wilson's distinct melodies. Ruben Santiago-Hudson, who appeared in that memorable first outing, directs here, clearly finding the story but missing some of the poetry that puts this play high in the Wilson canon…. Despite the unhappiness of many of the play's characters, "Seven Guitars" possesses an earthy, robust sense of humor, a comic spirit best exemplified in this revival by the amazing Stephen McKinley Henderson."

Linda Winer of Newsday: "Life still vibrates in this production by Ruben Santiago-Hudson… But the melodies, rhythms and riffs in Wilson's luxurious words are missing. The music in the bones, with some exceptions, is not there yet…. Perhaps best of all, Wilson veteran Stephen McKinley Henderson nails the blues in the words as the drummer with yet another forgotten child at home."