Following on Sam Shepard’s Heartless (see my ROT
report on 10 September), the first offering of the Signature Theatre Company’s
Legacy Program for 2012-13, my frequent theater companion Diana and I were
again at the Irene Diamond Stage of the Pershing Square Signature Center on
Theatre Row for the 7:30 performance of August Wilson’s The Piano Lesson on Friday evening, 7 December. I’ve seen a number of Wilson’s decology plays
(I seem to have missed two, 1988’s Joe Turner’s Come and
Gone and Radio Golf from 2005), but the only presentation of
Piano Lesson I’d seen was the 1995 Hallmark Hall of Fame broadcast on CBS;
I’d never seen Wilson’s 1987 play on stage.
(Not that the TV version was a lightweight presentation: it was directed
by Wilson’s long-time collaborator, Lloyd Richards, and starred Charles S. Dutton,
Alfre Woodard, and Courtney B. Vance, among others.)
The fourth play in Wilson’s 10-play cycle of the
20th-century African-American experience, The
Piano Lesson premièred at the Yale Repertory Theatre in New Haven,
Connecticut, on 26 November 1987.
Directed by Richards, who was artistic director of Yale Rep and head of
the Yale School of Drama, the production starred Samuel L. Jackson as Boy
Willie. The Yale Rep staging moved on to
the Huntington Theatre Company in
Boston, where it opened on 9 January 1988 with Dutton replacing Jackson as the
male lead. Richards then directed the
play on Broadway at the Walter Kerr Theatre where it opened on 16 April 1990,
running until 27 January 1991 (328 performances) and winning the 1989
Pulitzer Prize for Drama and the 1990
Drama Desk Award for Outstanding New Play, plus garnering several nominations
including four Tonys. (The TV adaptation
won the 1995 Peabody Award and received two Emmy nominations.) Signature’s revival, the first in New York
since the Broadway outing, started previews on 30 October and opened under the
direction of Ruben Santiago-Hudson, a frequent force in Signature seasons, on
18 November; it’s scheduled to close now on 30 December, including one
extension from 9 December.
Wilson always
professed that he was much inspired by blues music and the art of Romare
Bearden, and the great collagist created a picture called The Piano Lesson in 1983 that moved the dramatist to write a play
focusing on a strong female character for his depiction of African-American
history in the 1930s. Constanza Romero, the writer’s widow, said, “In the painting, The Piano Lesson, there is a figure of a mother standing over a
small girl playing the piano. August
thought the girl was perhaps doing her scales and heard the mother say, ‘Play
it again, Maretha.’ This was the genesis
of the play”; and Andrea Allinger, a freelance writer, quotes Wilson on the August Wilson Blog as saying to a friend upon viewing Bearden’s
Piano Lesson, “This is my next play,”
and the writer was already speaking lines from it the next day.
According to Allinger, both artists used the technique of collage, “a melding of
materials,” to draw their portraits, and the playwright gave “voices and
stories to the characters Bearden created in his collages.”
Wilson’s widow confirmed that she “saw
a parallel between August’s and Romare Bearden’s work,” explaining that “they
were both collagists. August would start
with an image, or with some dialogue, then would start writing what he heard in
his mind.” Others have also noted that Wilson composed by combining bits and pieces
of found images, observed or overheard around him; pieces of his biography;
cultural and ethnic history; Pittsburgh lore and color; researched facts and events;
influences from art and music; and flights of imagination.
Blues figures in the play a great deal, too, as all the men harmonize on a
prison farm work song and one character, Wining Boy, a semi-professional
musician—a pianist and singer, wouldn’t you know—sits at the titular instrument
and knocks out a gorgeous blues riff he’d composed for his lost love. Furthermore, the characters all speak in what
the title character in Wilson’s Ma Rainey’s
Black Bottom (1984) calls “life's way of talking.” Bearden’s art and the rhythms and themes of
the blues run through Piano Lesson
like the veins and arteries of a human body.
The actual songs and piano-playing aside, The Piano Lesson is as much a piece of music, from the lyrical
prose to the dancelike movement of the actors, as a piece of writing. We’ll see that many of the reviewers wrote of
the musicality of the script and the conductor-like efforts of director
Santiago-Hudson.
Wilson’s play is set in the Hill District of Pittsburgh of 1936, in the house
of Doaker Charles. A 137-year-old,
upright piano, decorated with carvings in the manner of African sculpture, is
the focus of the parlor. Boy Willie, Doaker’s nephew, arrives at the
door, accompanied by his friend Lymon and a truckload of watermelons he intends
to sell. Boy Willie wants to raise enough money to buy
some farmland back home in Mississippi—the Charles family is split by the Great
Migration, in full swing at this time—and not have to work as a tenant or a
hired hand anymore. He realizes that if
he also sells the piano, his share of the family heirloom will give him enough
cash to buy the land on which his forefathers worked as slaves and
sharecroppers, but his sister Berniece, who lives in Doaker’s house with her
11-year-old daughter, doesn’t want to part with the piano, which depicts (and
represents) their family’s history. (The
piano had actually been the property of the slave-holder who owned Boy Willie
and Berniece’s great-grandparents and grandfather; the land Boy Willie wants
was owned by the deceased descendant of the same family.) The struggle, both within Boy Willie and
between him and Berniece, is the lesson that the piano has to teach.
The Piano Lesson isn’t just about an heirloom
piano or even the story of one family stretching back into the 18th century. As Michael Feingold put it in the Village Voice: “Wilson never did
anything superficially,” and Constanza Romero said, “If there’s one unifying
theme in August’s plays it is the question, . . . how can we go forward without
confronting and embracing the past?”
Wilson is
demonstrating how history can haunt people for generations as the accumulated
effluvia of life adds to the load each person carries. (There’s even an actual spirit that may or
may not be hanging around the Charles house, attached somehow to that
piano.) While Berniece adamantly holds
onto the family past as represented by the piano, which she no longer will
play, and its carved images of her forebears, Boy Willie believes that those
ancestors intended them to move up, to improve their lot, and that buying the
land where his family worked as slaves and sharecroppers and becoming his own
man, a farmer on his own land, is a step he has to take and that their father meant
the piano to be a means to that worthy end.
Berniece came to a strange place (Lymon constantly remarks how different
things are up north) and established a new and different life, but Boy Willie
wants to stay down south—Lymon is staying, but Willie’s going back by train—and
do what he knows how to do: farm.
The specter of the family past—the sale by the
planter of the great-grandmother and nine-year-old grandfather (“one-and-a-half
slaves”) to buy the piano; the carving of their images into the instrument by
the great-grandfather, left behind; the murder of Boy Willie and Berniece’s
father (Doaker and Wining Boy’s brother) after he stole “back” the piano; the
violent death of Crawley, Berniece’s husband (which she blames
on Boy Willie); the splitting of the family again by the Great Migration; the
mysterious death of the farmland-owner and descendant of the slave-holder—comes
to Doaker’s house and turns up the heat until the pot boils over. Though both siblings—Doaker basically remains
neutral and plays referee—behave recalcitrantly, they each have a lot of right
in their positions. Berniece came north
to escape the poverty and the Jim Crow oppression that was not only cruel but
dangerous but wants to keep a connection to the family past that was so often
interrupted and severed but which has kept them all linked for generations
despite geographical separation. Boy
Willie needs to advance his status, to start a real life of his own and he
wants to do it where his roots are, where he feels he belongs and not be forced
to choose between being someone else’s hireling or settling somewhere 1,800
miles away to take up an alien life.
(Lymon, also a farm boy, is looking at working at loading boxcars in a rail
yard.) But to resolve the impasse, one
side has to give up a cherished desire.
The ghost of slavery has to be exorcised. Man, can there be anything more dramatic than
that?
The New York Times’s Charles Isherwood’s
review on 19 November was as close to a full-on rave as I’ve seen in a long
time (“one of the best shows in town,” he wrote) and the
STC Legacy revival measures up entirely to the reviewer’s estimation. First, the production is excellent, from the
acting, which is doubtlessly some of the best ensemble work I’ve ever seen,
especially from an American company, to the directing to the design (the set is
a wondrous naturalistic fragment). Then
the script is one of Wilson’s best, less narratively diffuse and more structurally
solid than most of the other nine plays in the so-called American Century Cycle. The two-acter still runs 2¾ hours because the
writer goes off on several tangents (delightful though they are), but for
Wilson, this is tight writing. The
result is one of the best evenings I’ve spent in the theater that I can
remember. (Am I a wuss if I confess here
that the performance was so theatrically moving that I teared up more than once
at the sheer beauty of the art, and that I, who usually forgo the now-ubiquitous
standing ovation, got to my feet at the end along with nearly everyone
else? Well, I guess I’ll just have to
accept that.)
The ensemble acting
of the company has to be largely the responsibility of Santiago-Hudson,
starting with his casting. I’ve seen
this director’s work many times now, including another Wilson revival at STC,
the 2006 Seven Guitars (a play for
which he also won a Tony as an actor in the 1996 Broadway première), and I
noted then that the cast displayed extraordinary ensemble work. Clearly, whether consciously or
unconsciously, Santiago-Hudson, who’s accomplishments as an actor may have
something to do with this, is adept as communal stage work of this nature. It was just fantastic to watch. In addition, from what I’ve read, the earlier
stagings of Piano Lesson employed
over-obvious effects to depict the spookiness that reaches a crescendo at the
end of act two, but this director keeps the SpFX to a minimum. (Don’t misread me: I think the whole
apparition/poltergeist element—lights that go on and off by themselves, a piano
that plays itself and will not be lifted off the floor, doors that slam on
their own—is overdone, but that’s in the script to a degree. Santiago-Hudson has apparently gotten more
literal than Wilson indicated, however.)
Although Wilson’s side trips and diversions attenuate the play,
Santiago-Hudson handles them nicely, keeping them organic and bringing the
characters smoothly back from them into the play’s main narrative. You just have to go on a little walkabout
through Wilson-land.
Michael
Carnahan’s set is magnificent, the living room, kitchen, staircase, and upstairs
landing of Doaker’s house, with the outer siding visible at stage left and the
skeleton of the roof seen above the ceiling.
Bits of the neighboring houses loom next door. When I entered the auditorium, I couldn’t
stop examining the stage picture, which looks like a sort of expressionistic
cut-away of a home—not as if someone had sliced off the back like a doll house,
but torn it off like a tornado had passed by.
It’s a house that’s either disintegrating or reforming. The clothes by Karen Perry are both
period-perfect and right on for the characters and situation. I especially liked the suits and shoes Wining
Boy brings along and ends up selling to Lymon.
(Lymon’s probably half Wining Boy’s size, but the sales job Wining Boy
does is priceless, so the scene as acted and staged makes the costume aspect
all the more marvelous.) The countrified
attire in which Lymon and Boy Willie arrive contrasts meaningfully with the
city duds adopted by Berniece, Wining Boy, and the other residents of
Pittsburgh.
The lighting in The Piano Lesson needs to be more than
just atmospheric and mood-setting. Even
aside from the occult effects, first suggested and later fully displayed, the
way Doaker’s house is lit or not lit is as significant to the dramatics as
Perry’s costumes. What happens in the
dark is important and designer Rui Rita knows exactly how to manipulate the
illumination. The music, composed by
Bill Sims Jr., is equally important as it establishes the meaningfulness of
music, particularly work songs and blues, which is woven into the fabric of the
lives of the Charles family and the world from which they come. David Van Tieghem did the overall sound design and, with Sims,
creates what TheaterMania called “a
haunting aural atmosphere.” I
can’t think of a stage performance where the physical production is as much an
integral part of the play’s dramatic heft and impact as it is here. We’ve probably all read descriptions of
productions in which the writers asserted that “the set’s a character” or “the
sound is like another character,” and I’m sure that’s been true; I’ve even
written it myself, I’m sure. But I don’t
remember seeing a show where all the technical elements were like that. Of course, I probably wouldn’t feel this way
if they didn’t all work in tandem so perfectly as they do at STC.
I’ve delayed
writing about the acting because I don’t really know what to say about
individual performers. I’ve already
gotten effusive about their work together, but the problem with that kind of collaboration
is that it makes it hard to speak of each actor on her or his own. But I’ll try.
A superb physical actor, Brandon J. Dirden, bursting with unbounded
enthusiasm and hope, completely inhabits the impulsiveness and stubbornness of
Boy Willie; I felt the strength of his pursuit of his dream, the sincerity of
his belief that that’s what his father wanted for him. He seems selfish (as, in fact, does
Berniece), but because Dirden is steadfast in his sense of his own correctness,
he convinced me of it, too. As sister
Berniece, Roslyn Ruff is as fierce as Brandon Dirden’s Boy Willie, but sterner,
more closed off, harder-edged. There’s a
glimmer of the softer person she’s walling off, but Ruff is unbending and
determined, though far from unsympathetic. To say, however, that these performances stand
out is to be unfair to the rest of the troupe, though Brandon Dirden and Ruff
set the standard for the company.
There’s a sadness
in Boy Willie’s friend Lymon as played by Jason Dirden (Brandon’s brother), a
loneliness that made me understand why he’d want to stay in Pittsburgh and
start over, remake himself. (The play’s
largely about people remaking themselves in some way.) Though he scampers around Boy Willie like a
puppy, he also feels the tentative start of an attraction to Berniece, as if
the boy were becoming a man. As the calm
center of the Charles storm, James A. Williams as Doaker made me feel that he’s
not only seen it all before, but that he knows how it’s going to come out. All he has to do is keep Berniece and Boy
Willie from killing each other first. He
seems pretty sure he can do that, too.
(Williams is the only actor I recognize as having seen before: as Mr.
M, the teacher in Athol Fugard’s My
Children! My Africa! at STC in May.
See my report posted on 11
June. He comes off to better effect
here.) In truth, however, all the actors
acquit themselves superlatively, from Chuck Cooper’s Wining Boy, the itinerant
sometime-musician who drops in that incredible blues number (and he’s funny,
too), to Eric Lenox Abrams, the sincere and earnest preacher who’s trying to
court Berniece, to Alexis Holt’s little Maretha, Berniece’s 11-year-old
daughter.
The Times’s Isherwood characterized The Piano Lesson as “a generous gift,”
an “immensely satisfying show,” “emotionally sustaining great theater,” and a “savory
theatrical feast.” As strongly as I feel about this production,
I could never match the Timesman’s
effusiveness. In his words, Wilson’s
writing has “the breadth and majesty of great symphonies” and the company
delivers it with “commitment and artistry.”
Isherwood summed up the theatrical experience by asserting that “you
never want the sweet, sad music to end.”
Elsewhere in the
press, Joe Dziemianowicz in New York’s Daily
News wrote that The Piano Lesson “strikes
a major chord” in Santiago-Hudson’s “note-perfect staging” realized by an
“impeccable” cast and “deft designers” who “mine the riches of this resonant drama.” The News
reviewer noted that the script’s “overwritten” (a complaint several other
reviews made), but that the production is otherwise “a fine-tuned vision.” In the New
York Post, Frank Scheck praised the “sterling revival” of a “deeply moving
work.” “The play is filled with emotionally resonant
moments,” noted Scheck. Though he also
remarked on the overwriting, he found the “gripping” production “superbly
staged and acted.” Linda Winer of Long
Island’s Newsday confessed that she
always saw The Piano Lesson as “one
of the lesser, more conventional”
of Wilson’s works, but that the STC revival “reveals this as
richer and more emotionally complete than ever before.” Dubbing the production “first-rate,”
Santiago-Hudson’s direction “meticulous,” and the cast “splendid,” Winer asked
at the end of her notice: “What good is a legacy?” Her response?
“This revival is its own answer.”
The Voice’s Feingold, characterizing
the play as “remarkable,” found the STC remount “better unified in tone than
the Broadway original” and Terry Teachout pronounced the production
“magnificent” in the Wall Street Journal,
with “taut and disciplined” staging and “sumptuous” acting from a “sublime” cast.
In New York
magazine, Scott Brown described STC’s “joyous revival” of The Piano Lesson as “concerted,
conducted, and focused.” With “unforgettable performances from a
flawless cast,” the production “pulses with magic, ecstasy, pain, and (forgive
me) spirit,” he reported. Brown’s final recommendation
is: “I’d advise you to commune with” the performance. David Cote of Time Out New York dubbed the play a “grand drama” that “reaches
operatic intensity.” The production’s “impeccable ensemble”
realizes “Wilson’s polyphonic, novelistic voice,” the man from TONY declared, concluding that “there’s
much lovely, haunting music to be savored here, played by an exquisite
ensemble.”
Clifford Lee Johnson III of Back Stage characterized the play as “a theatrical whirlwind” which is being staged in a “welcome revival” presented by a “sterling cast.” As Johnson saw it, Santiago-Hudson “conducts the play as much as he stages it” and though the play has imperfections, the Back Stage review-writer concluded they are “only slight blemishes on a powerful production.” In Variety, Marilyn Stasio opened her notice by asking: “What have we done to deserve a magnificent revival like the new Signature Theatre production of ‘The Piano Lesson’?” Describing Santiago-Hudson’s directing as “flawless” and the acting “brilliant,” Stasio proclaimed that the STC revival “makes this 1987 play live and breathe and sing for a new generation.”
On the ’Net, Dan Bacalzo
wrote on TheaterMania that STC’s “top-notch
cast does justice to Wilson's well-defined characters and lyrical language” in
“a superlative revival,” and on CurtainUp, Simon Saltzman called the production “a stirring
revival” for which Santiago-Hudson establishes a “chillingly spectral
atmosphere” through “keenly focused direction” that addresses “the emotionally
visceral changes” through which the Charles family and friends go. On TalkinBroadway.com,
Matthew Murray pronounced The Piano
Lesson “a mostly superb new revival” in a “brutally gutsy and realistic
rendering” by director Santiago-Hudson. Though Murray saw the play as “the clearest
statement of Wilson's ethos,” he nonetheless felt that “cracks begin to show a
bit on the more detailed and human level” because of the “lack of impassioned
monologues” (an estimation, by the way, with which I don’t agree). He acknowledged, however, that “the lapses
are so minor . . . that the overall impact of the production is barely lessened”
due to the “tight rein” of the director who “knows just what notes to hit.” The Web reviewer concluded by affirming that
Wilson’s people “have rarely . . . been rendered more melodious than in this
version of The Piano Lesson.”
The New Yorker’s Hilton Als was
the lone outlier. Though he acknowledged
the “imaginative force” in Santiago-Hudson’s staging and declared that “there
is not one false note among” the “excellent cast,” Als complained that “Wilson
tips the balance by adding more blackness to blackness” so that the playwright
“enslaves the characters who we’re watching to a historical blackness that
should be part of the character’s interiority.” This situation arises from a “problem with ‘ethnic’
theatre” the New Yorker writer perceives
so “that the marginalized people on display . . . tend to get more ethnic once
they step in front of the footlights,” and he felt that this fault diminished “a
fine enough dramatic premise.” I’m not
entirely sure what Als means by all this, but if it’s generally true at times,
I never felt it was a hindrance in STC’s The
Piano Lesson.
The Signature Theatre has announced that 'The Piano Lesson' has been extended again through 20 January 2013. It's a well-deserved extension and I strongly recommend catching this production. (Tickets for extensions rise above STC's regular season's price of $25 a seat, so be prepared to pay extra. Believe me, it's worth it if you love theater or August Wilson.)
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