Ron OJ Parson Talks the Power and Relevance of ‘East Texas Hot Links’ in Exclusive Q&A

“East Texas Hot Links” actors Alfred H. Wilson, Kelvin Roston Jr., and Willie B. (Photo Credit: Michael Brosilow).

The play “East Texas Hot Links” crackles with charm, urgency and fire, making it as relevant today as it was when it debuted in the early 1990s.

Since Sept. 9, Court Theatre audiences have been treated to this Pulitzer-nominated thriller buoyed by ice-pick sharp dialogue that is humorous and revelatory. And just when you’re beguiled by its charms and quaint universe of characters, it seizes you in a chokehold. 

“You’re laughing all through the play, and then all of a sudden you’re not,” said Ron OJ Parson, who first directed “East Texas Hot Links” 30 years ago and helms the new production at the Court Theatre in Hyde Park until Sunday (Sept. 29).

The play possesses many of the same qualities that made August Wilson’s plays so indelible: plain-spoken dialogue that is poetry to the ear but propels the story forward while introducing us to each character. 

Most of all, “East Texas” centers the lives of Black people in their haven, the Top O’ the Hill Cafe in the piney East Texas woods where Ku Klux Klansmen roam, and the prospect of Black death lingers just beyond its doors. 

The Chicago Defender recently caught up with Parson, who talked about what it meant to direct the play this time after it served as his inaugural production for the bygone Onyx Theatre Ensemble, which he co-founded with Alfred H. Wilson in 1994.  

Parson touched on his friendship with “East Texas Hot Links” writer Eugene Lee, the play’s connection to the “Twilight Zone,” what’s different in this current interpretation and why it remains so relevant today as it did 30 years ago.

Ron OJ Parson

Tacuma Roeback: your friendship and collaboration with Eugene Lee go back decades. How did your initial conversation shape your vision for this new production at the Court Theater?

Ron OJ Parson: I did it 30 years ago, in 1994, when I first moved here. And that’s when I got to know Eugene. I’ve done it three times here in the city, once in Buffalo, New York, my hometown, and once in Cleveland at [Karamu House], which is the oldest Black theater in our country. And so over the years, just myself becoming more mature and older as a director, and finding different intricacies and different specifics in the play. And that’s what this production is, a culmination of all of those years of experience in directing.

I actually learned a little bit more about the history of it this time, because there were some things that we learned about each other, like the “Twilight Zone,” for instance. Eugene originally went home. He told his wife, ‘I’m going to write an episode of The Twilight Zone,’ and it turned into “East Texas Hot Links.” This time, I was able to bring my own experience with Rod Serling and the Twilight Zone and implemented some of those things in the play.

Tacuma Roeback: I want to talk about that aspect of an August Wilson play where they tend to be so lyrical, so poetic, right? The dialogue really carries the scenes. Can you talk about the challenge and opportunity of directing a play set in a static location where the dialogue has to do a lot of the heavy lifting in moving the story forward?

Ron OJ Parson: Some playwrights are better at that than others, and August and Eugene, for example, are good at that. We approach it like you’re playing a song. It’s music so that when you play a song and hit a sour note, you can know it. You can feel it. And that’s how I approach it with every actor. Because this play has actors who are experienced with me and actors who have never worked with me, so it’s a combination of the two. So, the younger people are learning about that music of it as they do the play.

Tacuma Roeback: For productions like this that you’ve encountered over the years, what’s your process for keeping them fresh and engaging? How do you do that, if you do it at all?

Ron OJ Parson: Oh yeah, that’s a good question. What I like to do is have fun. We like to have fun, especially when we’re doing something so serious that it can really take us to a dark place, which it does. [The play] is a tragedy, but having fun in the rehearsal room, making the rehearsal room light, getting everyone involved, including the crew, the understudies, so everybody is having an experience they hopefully won’t forget. 

We’re all a part of the play. We’re all a part of the family. I learned that when I worked years ago on a production of “A Raisin in the Sun” with Delroy Lindo and Esther Rolle. Harold Scott directed it, who was a mentor of mine and one of the first Black directors of [a major American regional theater]. 

That’s primary in my rehearsal process: to have it where we’re like a family. In fact, I did this play up north all the time. I did it up on the North Side with Onyx Theater 30 years ago and Writers Theatre up in Glencoe. This was the first time I did it on the South Side, which is where I wanted to do it originally. But we didn’t have that, and I’ve been at Court now for 20 years. Finally, we get an opportunity to do it on the South Side where I originally wanted to do it, and I think it’s helping.

Photo of “East Texas Hot Links” actors Willie B., Geno Walker, and AnJi White (Photo Credit: Michael Brosilow).

Tacuma Roeback: How does this play continue to contribute to conversations around race, community, and history in today’s world?

Ron OJ Parson: Well, you know, it’s so funny. I don’t say funny in a sardonic kind of way, but there’s always something happening when we do the play. There’s always some police shooting. That happens every day. When we did it up in Glencoe, Laquan McDonald had just gotten shot. 

Even 30 years later, it’s so relevant. It’s still relevant because of what’s happening now, especially this year with the whole political climate and everything. Unfortunately, it’s going to always be relevant because these things are still happening. In 1955, when the play takes place, of course, that’s the Emmett Till era. Things were going on, so it has that relevance.

Tacuma Roeback: The play was awesome. The ending was shocking.

Ron OJ Parson: I love to play. Eugene always says to me, ‘Man, I got other plays.’ I know, and I love those, and I read those. And hopefully, I’ll get to do more of those. But this one, it affected me. I think for Eugene, this is his “Raisin in the Sun.” This is the play that people will remember him for no matter what you know. So, for me, it just changed my life. I have an affinity for it. I will always do it. I pitch it all the time to other cities and other theaters. I just love to see it get done and see the response.

For More Information

What: “East Texas Hot Links” by Eugene Lee, Directed by Resident Artist Ron OJ Parson

Featuring: Willie B. (Adolph); David Dowd (Delmus Green); Juwan Lockett (XL Dancer); Kelvin

Roston Jr. (Roy Moore); A.C. Smith (Boochie Reed); Geno Walker (Buckshot); AnJi White (Charlesetta Simpkins); and Alfred H. Wilson (Columbus Frye).

Creatives: Jack Magaw (scenic design); Christine Pascual and Janice Pytel (costume design); Jason Lynch (lighting design); Andre Pleuss (sound design); Kamesha Khan (production dramaturg); Becca McCracken (casting director); Jaclynn Joslin (production stage manager); and Kate Ocker (assistant stage manager).

When: To Sept. 29, 2024; Schedule: Wed/Thurs/Fri: 7:30 p.m.; Sat/Sun: 2:00 p.m. and 7:30 p.m. Accessible Touch Tour on Sept. 28, 2024 at 12:30 p.m. Performances: Audio Description and ASL Interpretation on Sept. 28 at 2:00pm

Open Captioning on Sept. 29, 2024 at 2:00 p.m.

Where: Court Theatre, 5535 S. Ellis Ave.

Tickets: $58.00 –$90.00 Regular Run; Student, group, and military discounts available

Box Office: Located at 5535 S. Ellis Avenue, Chicago; (773) 753-4472 or www.CourtTheatre.org.

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