Review: The Hot Wing King (Dorfman Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️

On one of the rare hot days of the year (thanks British summertime), I found myself back at National Theatre’s fairly intimate Dorfman theatre about to witness an equally scorching show, The Hot Wing King. An intriguing title which doesn’t give away the meat of the story so left me going in with a blind taste test. The question is would this UK premiere bring the heat or would it all be a bit too mild?

Premiering off-Broadway in 2020 where its run was cut short, Katori Hall received the Pulitzer Prize for The Hot Wing King in 2021 and now crosses the ocean for its UK premiere. Set in Memphis, Tennessee, it sees couple Cordell and Dwayne along with their two friends, affectionately dubbed the New Wing order, preparing for the annual Hot Wing Order. However, their plans change when an unexpected guest arrives threatening to change dynamics and relationships forever.

The combination of Katori Hall’s writing and Roy Alexander Weise’s direction packs a fiery punch as The Hot Wing King takes inventive ways to unpack as many themes as it can in this genre-defying play. Initially wickedly funny, the comedy slowly paves way for more drama as the heat of the more serious themes are brought to the boil, though there is always another laugh around the corner. The use of music to highlight scene transitions gives the play the deliberate feel of a sitcom, which proves deceptive when the comedy takes a back seat, while full-on musical interludes prove unexpected but very much welcome. The result is a surprisingly mixed recipe of a play that always keeps you on your toes, never knowing where it is going next, but somehow all of the ingredients come together nicely so it never fails to thrill.

While The Hot Wing King may feel like a love letter to food on the surface, one taste of the context shows a variety of flavours slowly revealing themselves. Identity, Black masculinity, sexuality fatherhood, family, and friendship are all among the main themes explored, while past trauma and police brutality are touched upon in a play that sets out to pack as much in as possible. In other hands, this might seem like too much to unravel in one play but such is the nature of Hall’s writing, it all flows together seamlessly with her ability to tell a story with natural dialogue and create fleshed-out identities of every member of a friendship group allowing you to connect to the story and respond to the developments.

The cast of six all showcase moments of brilliance, each getting a turn to shine in their own right while collectively coming together in ensemble moments where the playful nature of their group dynamics becomes infectious to watch, particularly when it comes to the inclusion of a big Luther Vandross musical number. Kadiff Kirwan and Simon-Anthony Rhoden form the heart of the story as couple Cordell and Dwayne, both delivering standout performances along the way. As Cordell goes on a journey within himself, Kirwan beautifully demonstrates this with versatility and consistent skill in his acting. Rhoden remains enthralling to watch throughout, from the lighter moments to the more powerful ones as conflicting feelings about his family come to the surface. All of this plays out with enormous skill from a sensational performer, who also gets spicier moments to showcase his stunning singing voice sporadically throughout.

Jason Barnett is a dominating force as Big Charles, with big being the very nature of his performance in a larger-than-life performance that tells us about the character from the off. His dynamic with Olisa Odele’s Isom provides some of the more comic moments throughout, with Odele delivering a comic masterclass in his confident and mostly humorous performance, paving way for one brief moment of vulnerability. Dwayne Walcott gets a comparatively small time on stage as TJ but makes a huge impact on that time, while his son Everett ‘EJ’, played by Kaireece Denton, delivers what is perhaps the standout performance of the show. In his characterisation, Denton beautifully encapsulates the complexities of youth as he struggles with his own identity, particularly in one astonishing moment towards the climax of the first act where he gets to perform a raw and emotional monologue.

Rajha Shakiry’s design brings Cordell and Dwayne’s house to life through multiple levels and a backyard, with a seemingly working kitchen allowing the cast to cook (in more ways than one) and enrapturing the audience so their tastebuds are salivating. Roy Alexander Weise’s direction makes full use of the Dorfman Theatre’s space to create an intimacy that transports the audience to the story and a full understanding of Katori Hall’s writing that expands on each of the character’s traits perfectly.

I wasn’t sure what to expect with The Hot Wing King but it certainly wasn’t this. A rich tapestry of themes brings a real range of contrasting flavours that may sound conflicting when separated. However, like Cordell’s wings recipes, they come together to create something immensely tasteful and wholly satisfying. With plenty of moments that make you laugh and others that make you feel, The Hot Wing King packs a punch in a play that never shies away from its serious themes, and executes them faultlessly. The result is one hot show that always leaves you craving more.

The Hot Wing King  plays at the Dorfman Theatre until 14th September. Tickets from https://www.nationaltheatre.org.uk/productions/the-hot-wing-king/

Photos by Helen Murray