A talented actor makes his Hawaii stage debut one to remember, as Quantae Love stars in the title role of The Actors’ Group’s production of playwright August Wilson’s "King Hedley II."

Love is brilliant as an embittered ex-con trying to accumulate the money he needs to open a video rental store. Like many of the male characters in Wilson’s 10-play "Pittsburgh Cycle," Hedley is mired in a system that sets black men up for early failure and then keeps them as powerless as possible thereafter. Love’s eyes blaze and his voice seethes with rage as Hedley encounters obstacles in his struggle for a better future and the power to control even a tiny part of his environment.

The show continues the admirable commitment TAG made in 2004 to present a play by an African-American playwright each February in observance of Black History Month.

Lillian Jones (Ruby), seen last year at TAG as Louise in Wilson’s "Seven Guitars," again gives an engaging portrayal of a strong black woman who has made her peace with the world. Wendy Pearson (Tonya), seen previously in Wilson’s "Fences" and "Gem of the Ocean" at TAG, captures the torment of a 30-something single parent who is trying to avoid making the same mistakes she made as a teenager — and who fears her teenage daughter is making them as well.

Director Troy Apostol gets a beautifully nuanced performance from William Self (Elmore) in the role of a smooth-talking con man. Self has some of the funniest lines in the show and delivers each of them with maximum effect. He also shades his portrayal of the seemingly benevolent man with vaguely malevolent undercurrents.

Josiah D. James (Mister) plays Hedley’s friend and partner-in-crime as a keen observer of human nature, albeit one who isn’t quite as sharp as he thinks he is. It’s a winning performance in a good role. This is James’ first stage show in Hawaii. It should not be his last.

Apostol’s potentially problematic choice in casting Deborah Pearson in the male role of Stool Pigeon ends up doing the show no harm. The gender of the character who was known as Canewell in "Seven Guitars" was a key element in that story but unimportant to the action here.

The show is long and moves slowly — all of Wilson’s plays contain many lengthy monologues and "remember when … " conversations, but the actors’ work is so engaging that the time spent listening to them seems well-spent.

The tension builds after intermission. Will Hedley’s efforts to better himself be his undoing? Wilson lets the audience stew while other plot lines are developed.

As with TAG’s previous productions of Wilson’s plays, "King Hedley II" is a show worth making time to see.