People of Theatre

Watching "The Hot Wing King" felt like being dropped into the middle of a lively, chaotic kitchen where food and emotions simmer and occasionally boil over. The play, set over the course of 24 hours in a Memphis kitchen, follows a group of Black gay men as they prepare for a hot wing competition. What starts as a comedic exploration of culinary prowess quickly deepens into a poignant examination of family, love, and identity.

At the heart of the story is Cordell, played with charismatic energy by Kadiff Kirwan, who has recently embraced his sexuality and is now trying to start fresh in Memphis with his partner, Dwayne. The cast surrounding them, including the boisterous Isom and the laid-back Big Charles, brings an infectious energy that makes the audience feel like part of their close-knit family. The arrival of Dwayne’s troubled nephew, EJ, introduces tension that disrupts the harmony and forces the characters to confront their pasts and their relationships.

Katori Hall’s writing shines through with its sharp wit and deep emotional resonance. The play tackles serious themes—like the complexities of Black masculinity, homophobia, and the lingering effects of trauma—with a lightness that never diminishes their importance. The script is peppered with humor which adds a layer of joy to the narrative.

As a gay man, I found it extraordinary that seeing homosexual affection on stage still feels radical. You’d think that by now, such images wouldn’t still have the power to surprise, but they do—and seeing it through the lens of intersectionality made it even more impactful. It’s not just about showing affection; it’s about the context in which that affection exists—within a community that’s had to fight for both racial and sexual identity.

As I watched the play with delight, I deliberately took moments to observe other audience members (something I love doing from time to time). I noticed that some of the men in the audience would occasionally avert their eyes from the stage during moments of homosexual intimacy. It was a stark reminder of how much work still needs to be done for LGBTQ+ representation in narratives and how little progress has actually been made for intersectional identities. It’s a clear answer that I’ll remember to give to those who keep asking if Pride is still necessary today.

Roy Alexander Weise’s direction keeps the pace tight, even as the play stretches to nearly three hours. He gives each character their moment to shine, ensuring that their individual stories contribute to the larger narrative about community and resilience. The set, designed by Rajha Shakiry, creatively squeezes an entire home—kitchen, bedroom, backyard—into the space, making the audience feel like they’re right there in the midst of the action.

I enjoyed the distinct voices of the performers, each of whom brings a unique energy that perfectly matches their character’s personality. This is especially true for the scenes of conflict, where the dialogue crackles with tension.

This play is a celebration of love, identity, and the chosen families we create, all wrapped up in the warmth and flavor of a Memphis kitchen.

Giuliano x