A WELL-PLAYED PIANO
Though the surface plot of August Wilson’s The Piano Lesson is fairly simple — an estranged brother and sister argue over whether to sell or keep a beautiful piano that has been in the family for generations – that simplicity is very deceptive. For the piano is not only a valuable instrument but a container for this family’s ancestors, endowing it with the power to bring those ghosts and other spirits into the present — continuing a complex journey deeper and deeper into the consequences of people as property.
Now being given a gorgeous production at A Noise Within, The Piano Lesson stands as one of the most powerful pieces of American theater, offering a rich and compelling portrayal of African-American life in the 1930s. As part of Wilson’s famed “Pittsburgh Cycle,” this play, which won the 1990 Pulitzer Prize for Drama, continues to resonate for its exploration of heritage, memory, and the deeply felt connection to family and history. At its heart, The Piano Lesson is a meditation on the past and its ability to shape the present, told through the lens of a family grappling with the symbolic power of a cherished heirloom. Under Gregg T. Daniel’s sharp and insightful direction, The Piano Lesson becomes a powerful, thought-provoking event, fueled by three standout performances and an exceptional supporting cast.
Evan Lewis Smith, Kai A. Ealy, and Gerald C. Rivers
At almost three hours, The Piano Lesson is a dense and sometimes slow-moving piece, with certain scenes dragging on longer than necessary to make their point. While Wilson’s language is undeniably beautiful, some trimming of repetitive or overly meditative passages would enhance the play’s momentum without sacrificing its emotional depth. This structural critique, however, does little to diminish the overall impact of the piece, which remains a powerful exploration of heritage and legacy. (Side note: The 1995 TV movie adaptation of the play clocked in at 95 minutes and an upcoming Netflix movie will clock in at 2:05 hours).
Set in 1936 Pittsburgh, thirty-five-year-old Berneice (Nija Okoro) and her 11-year-old daughter Maretha (Madison Keffer) live with her uncle Doaker Charles (Alex Morris) in his house. Berneice was widowed three years prior when her young husband, accompanied by her thirty-year-old brother Boy Willie (Kai A. Ealy) and his friend Lymon (Evan Lewis Smith), was shot by white men during a botched lumber theft. Boy Willie and Luther both served time on a harsh, Mississippi work-farm because of the incident.
Evan Lewis Smith, Gerald C. Rivers, Kai A. Ealy, Alex Morris
Berniece is in possession of the family heirloom piano that contains carvings of family members, which was done to appease the wife of the man Sutter, who owned her great-grandparents during slavery. In 1911, Berniece’s father stole the piano, which depicts the family’s journey from slavery to freedom, back from the Sutter family. He was killed in retaliation.
As the play begins, Boy Willie and Lymon unexpectedly drive up from Mississippi to Doaker’s house. Embodying a forward-looking ambition that seeks to break free from their painful past, Boy Willie wants to sell the family piano to help buy land now freed up by the recent mysterious death of the current Sutter patriarch. Berniece adamantly refuses, citing the family legacy of pain and suffering ensconced within the piano. To complicate matters, the ghost of Sutter, the white man who is believed to have murdered Berniece and Boy Willie’s father, has arrived at Doaker’s house. The presence of ghosts, legacy, ownership, survival, property, incarceration, exploitation, murder and self-determination are debated and explored throughout the show, resulting in a stunning climax.
Nija Okoro and Jernard Burks
Wining Boy (Gerald C. Rivers), Doaker’s charming yet troubled 56-year-old brother who was once a successful musician but now a drunk with a gambling addiction, often acts as a mediator between Berniece and Boy Willie, while Lymon desires stability and belonging up North. Meanwhile, Avery (Jernard Burks), a childhood friend and born-again minister, seeks Berniece’s affection but struggles to win her over. Together, these characters illustrate the tension between heritage and progress, making The Piano Lesson a powerful exploration of identity, trauma, and memory.
Wilson’s writing shines as he skillfully weaves together these themes into a narrative that captures the complexities of the Black experience in the U.S. His gift for language, particularly in crafting vivid and authentic speech, is unmistakable. The characters speak with a musicality and rhythm that bring their inner worlds to life, while the play’s folklore-infused elements — the haunting apparition and mystical beliefs — lend an almost mythic dimension to the narrative. The piano itself is not just a symbol, but a living, breathing character, a testament to Wilson’s skill in creating layered, symbolically rich storytelling.
Nija Okoro and Evan Lewis Smith
What makes The Piano Lesson so enduring is its ability to speak to both the universal and the particular. Wilson masterfully navigates the African-American experience, delving deep into the generational scars left by slavery, yet the play’s central questions about how we relate to the past resonate on a broader level. The tug-of-war between Boy Willie and Berniece is not just about a piano but about how we honor those who came before us, how we carry their stories forward, and how we define ourselves in relation to history.
While The Piano Lesson is undeniably a triumph in many respects, Wilson’s portrayal of women in the play is underdeveloped compared to his male characters. LaShay Tomlinson Boyce makes a fiery impression in her brief but memorable turn as Grace, a party girl that Boy Willie picks up at a bar, and Keffer offers a lovely portrayal of young Maretha. But they are minor roles. Berniece, although central to the plot, is often seen as passive, defined more by her pain and trauma than by a fully realized sense of agency. In contrast, Boy Willie’s dynamic, boisterous personality drives much of the action, leaving Berniece in a reactive role for much of the play. Although her final moment at the piano delivers an emotional punch, some may feel that Berniece’s journey is less fully fleshed out than her brother’s, leaving a gap in the otherwise richly drawn characterizations.
Kai A. Ealy, LeShay Tomlinson Boyce
Nija Okoro is stunning as Berniece, capturing the character’s strength, determination, and vulnerability in equal measure. Kai A. Ealy commands the stage as the brash and impulsive Boy Willie, while Alex Morris as Uncle Doaker delivers a forceful portrayal of a man struggling to keep the peace in a fractured family. Supporting performances shine as well: Smith’s Lymon is irresistibly charming, Rivers brings flash and flair to the loquacious Wining Boy, and Burks’ Avery is impassioned.
Tesshi Nakagawa’s stunning multi-storied, wood-framed house set is impressive, especially as illuminated with striking, at times otherworldly lighting by Brandon Baruch. Jeff Gardner’s sound design, rich with bluesy undertones and eerie effects, adds another layer of atmosphere. Alethia Moore-Del Monaco’s 1930s costumes and Shelia Dorn’s wigs and makeup perfectly evoke the era, with Stephen Taylor’s props completing the meticulous production design.
Evan Lewis Smith, Nija Okoro, Alex Morris
Additionally, Joyce Guy’s choreography, Kenneth R. Merckx, Jr.’s fight choreography, and Maritri Garrett’s music direction — eliciting beautiful vocals during the play’s musical moments — all contribute to the production’s captivating energy.
Despite a few pacing issues and critiques of its depiction of women, The Piano Lesson is a beautifully rendered, emotionally resonant work that captures the essence of August Wilson’s genius. It is a play that asks us to reflect on the weight of our inheritance — both material and spiritual — and how we can move forward without losing sight of where we have come from. Even with its minor imperfections, it remains one of Wilson’s finest achievements, and a must-see for anyone who loves theater that is as thought-provoking as it is emotionally engaging, making it one of the most important works in the American theatrical canon.
Kai A. Early and Alex Morris
The Piano Lesson is a triumph of storytelling, despite a few pacing issues and critiques of its depiction of women. Wilson’s exploration of family, memory, and legacy continues to A Noise Within has dedicated itself to staging all ten plays in August Wilson’s “Pittsburgh Cycle,” and The Piano Lesson marks their fifth production in this ambitious endeavor. I eagerly anticipate the next five, and I hope Gregg T. Daniel will continue at the helm, as his direction has proven to be a perfect match for Wilson’s work.
photos by Craig Schwartz
The Piano Lesson
A Noise Within
3352 E Foothill Blvd in Pasadena
Thurs-Sat at 7:30; Sat & Sun at 2 (dark Oct. 31)ends on November 10, 2024
for tickets (starting at $51.50 incl. fees), call 626.356.3100 visit A Noise Within
student tickets start at $20
