The Piano Lesson is set in Pittsburgh's Hill District in 1936. A brother and sister are locked in a war over the fate of a family heirloom: a piano carved with the faces of their ancestors. Only by revisiting history can the siblings endeavor to move forward. Directed by LaTanya Richardson Jackson, The Piano Lesson is a part of August Wilson's American Century Cycle, which chronicles the Black experience throughout the 20th Century over the course of ten plays.
The famous ending, involving the aforementioned ghoul, is also bungled. This time it combines a screen and less-than-adequate projection, the shoddiness of which distracts from the finale's power and purpose. If you're sitting even slightly off center, you can barely discern what's going on. It could be an iPhone flashlight or the aurora borealis. The windup, however, is rich and sublimely acted. When Washington snarled and stared at Brooks and Jackson with unrelenting intensity, I was reminded of his father Denzel's explosive Troy in Wilson's 'Fences' that he performed 12 years ago just two blocks away. In a play very much about legacy, that felt right.
The cast is uniformly wonderful. The three leads blend and harmonize, while adding individual grace notes. Brooks speaks volumes with just a glance, Washington adds spirited bluster, and Jackson's distinct voice was made for Wilson's words. I lost count of how many times Doaker deadpans, 'Berniece ain't gonna sell that piano' - but he made it fresh each time. (Jackson understudied Boy Willie in the 1990 Broadway run.) In their supporting roles, Fisher makes dim Lymon lovable, while Potts radiates gleeful charisma. Watching Wining Boy sell Lymon an absurdly ill-fitting suit is like taking a whiff of theatrical laughing gas. As Grace, a wise-to-the-world woman Boy Willie and Lymon try to romance, April Matthis gives a lesson in how to make a big impact with a small role. The production team also delivers. Beowulf Boritt's set leaves room for an eerie showdown enhanced by Jeff Sugg's projections, Toni-Leslie James's costumes evoke mid-1930s style, and Japhy Weideman's lighting lends warmth and chill as needed.
1990 | Broadway |
Broadway |
2012 | Off-Broadway |
Signature Theatre Company Off-Broadway |
2022 | Broadway |
Broadway Revival Production Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2023 | Drama Desk Awards | Outstanding Featured Performance in a Play | Danielle Brooks |
2023 | Drama Desk Awards | Outstanding Featured Performance in a Play | Ray Fisher |
2023 | Drama Desk Awards | Outstanding Lighting Design of a Play | Japhy Weideman |
2023 | Drama Desk Awards | Outstanding Revival of a Play | The Piano Lesson |
2023 | Drama Desk Awards | Outstanding Wig and Hair | Cookie Jordan |
2023 | Drama League Awards | Distinguished Performance Award | Danielle Brooks |
2023 | Drama League Awards | Distinguished Performance Award | John David Washington |
2023 | Drama League Awards | Outstanding Revival of a Play | The Piano Lesson |
2023 | Outer Critics Circle Awards | Outstanding Featured Performer in a Broadway Play | Danielle Brooks |
2023 | Outer Critics Circle Awards | Outstanding Featured Performer in a Broadway Play | Michael Potts |
2023 | Theatre World Awards | Theatre World Awards | John David Washington |
2023 | Tony Awards | Best Performance by an Actor in a Featured Role in a Play | Samuel L. Jackson |
2023 | Tony Awards | Best Revival of a Play | The Piano Lesson |
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