Follows the lives of the Charles family as they deal with themes of family legacy and more, in deciding what to do with an heirloom, the family piano.
Chuck says:
Ghosts, both literal and figurative, permeate the Charles household. The specter of opportunities lost, potential wasted and promises unkept haunt siblings Boy Willie and Berniece, as does the long oppressive shadow of slavery. Only two generations removed from this vile social institution, the brother and sister have struggled, as have so many of their peers, to lead a happy and productive life. Also haunting them are the spirits of their parents, the expectations and intentions they had for the siblings impacting their outlook for the future. In addition to all of this, an actual spirit may be in their home, becoming more powerful as dissension grows between them.
Part of his classic “Pittsburgh Cycle,” August Wilson’s “The Piano Lesson” examines the legacy of the Charles family, both what has been imposed upon them as well as that which they embrace, and the paralyzing effect it can have. Directed by Malcom Washington, this adaptation features John David Washington, Samuel L. Jackson, Ray Fisher and Michael Potts reprising their roles from the 2022 Broadway production. Each brings the necessary fire and pathos to this tale set in Pittsburgh of the 1930’s, most of the action taking place in the living room of the Charles home.
Having driven from Mississippi to the Steel City with his friend Lymon (Fisher), Boy Willie (Washington) drops in on his sister Berniece (Danielle Deadwyler) and their uncle Doaker (Jackson). He hopes to enlist their help in a grand plan he has to get ahead. A parcel of land owned by Sutter has gone up for sale. Seems the old man was pushed down his well and his family is eager to part with some of his property. This is significant to Willie because previous generations of the Charles family toiled as slaves on the land. He’s not blind to the irony of being able to purchase and profit from it himself, as it will also elevate his standing in the community. However, he must convince Berniece to sell an heirloom, the family piano, in order to raise enough money to do so.
He faces an uphill battle as this is far more than an instrument. Bearing the likenesses of their ancestors carved into the panels and boards, the personal history it contains is priceless, and is something Berniece holds dear. While she feels she is honoring her family by keeping it, Willie thinks their father would want it to be sold if its purpose was to better their situation.
This debate rages throughout the play, each of the arguments regarding the piano’s fate, valid. Yet over the course of this weekend, a variety of exorcisms occur, both literally and figuratively. The siblings are forced to come to terms with painful incidents from their pasts that have plagued them, while the spirit of Sutter, seen by Berniece and her daughter, has to be purged from the home as well.
While the symbolism is obvious, it still proves effective in underscoring the long-term effects of trauma, both personal and societal. Washington’s approach is a bit heavy-handed at times, dramatic scenes too often taking on a manic quality that becomes distracting. Still, the fine cast keeps it all grounded, the combined efforts resulting in one of the best ensemble performances of the year. To be sure, they tap into the anger that suffuses Wilson’s work but it’s the healing and sense of hope “Lesson” contains that we are left with. While it is tempting to want to build on our past, failing to recognize the work and pain of those who’ve gone before us, is a sin.
3 1/2 Stars
