Theater Review by Jeffrey Bruce . . . .
One of our most esteemed twentieth-century playwrights, August Wilson, won a Pulitzer Prize and many other accolades for his play The Piano Lesson, and watching it at Onstage Atlanta the reasons are obvious and plentiful.
It is 1936 in the Pittsburgh home of Doaker Charles—a railroad employee for 27 years. The home is tastefully decorated with artifacts from his Black past as well as dominated by a beautifully hand-carved piano. Doaker’s nephew, Boy Willie, arrives unexpectedly after being incarcerated. Willie has ideas about selling the piano he co-owns with his sister and using the proceeds to buy the land that his ancestors toiled on during slavery, owned by a Mr. Sutter. Doaker adamantly informs Willie that his sister Bernice will not, under any circumstances, sell the piano.
Bernice lives with Doaker, along with her 11-year-old daughter Maretha. We first hear her screaming off stage at the ghost of Mr. Sutter, whom she says has been crying for Willie, under the umbrella of The Ghost of the Yellow Dog, an old superstition.
Others arrive, including Avery the newly ordained minister who has loved Bernice for years; Willie’s partner, Lymon a slightly slow, naive young man who caters to Willie’s every whim; and Doaker’s brother, Wining Boy, a has-been singer who has saved his money well.
All are against the sale of the piano and Willie has only the loyalty of Lymon to follow any orders given him. Ultimately, after three hours, all does indeed end well for all concerned. The play has twists and turns that are amusing and self-explanatory. Wilson seems to have a handle on all of the superstitions and traumas that befell not only this family but, unfortunately, so many others in the aftermath of slavery. It’s heartbreaking, but the playwright peppers great humor into the most wrenching of situations.
The authentic set (Jimmy Spearman) is enhanced by the lighting (Harley Gould) which plays an important role in adding nuance, drama and terror during the ghostly events. Charlie Miller’s sound could not be bettered, and the costumes were superbly chosen/designed by Kathy Buraczynski. Notably effective was the set dressing design (Cathe Hall Payne and Angie Short). The magnificent piano was designed and constructed by Darrell Woford.
Barbara Washington’s direction is exemplary. The action never stops and almost all of the actors are effective in their portrayals and their total involvement. Most importantly, their focus is sustained in what is happening throughout.
While there are eight characters in the play, the triad of older men carry the show. Monty Montgomery as Doaker—gruff yet loving, tired but proud—does stellar work in trying to set Willie straight and keep the peace, as it had been for years until his arrival. Keith Franklin, as Wining Boy is thrilling—a blowhard who loves his family and has arrived to try to reunite with them. He “once was a somebody” who now drowns his memories in liquor. His drunken scene was quite moving. Particularly touching is Rodney L. Johnson as Preacher Avery. His puppy-dog longing for Berniece was heartbreaking. However, when called on to speak for more than a sentence or two, he turns his chats into a Sunday Sermon, and brilliantly funny they are.
The rest of the cast consists of Berniece, ably played by Lateefah Mosley; her daughter, Maretha by a sweet Skylar Abron; and Lymon by Braxton Rich, who mines humor as well as great sympathy for his role as a young, directionless man. Dom Mariah, in a cameo role, enters toward the end of the play as a date Willie picks up. Just an eye roll from Mariah conveys a myriad of feelings. The leading role of Willie was read by Cameron Smith. A seemingly capable actor who was a replacement and was, unfortunately, hindered by having the script in hand and reading every line. I would like to see Mr. Smith when he is off-book because the promise is there.
Congratulations to On Stage Atlanta for producing The Piano Lesson, an important part of American dramatic history.
The Piano Lesson. Through February 25 at Onstage Atlanta (3041 North Decatur Road, Scottsdale, GA). www.onstageatlanta.com
Cover photo: Barry West
