As a gamer with a deep appreciation for both literature and film, I found myself utterly captivated by Malcolm Washington’s directorial debut of August Wilson’s “The Piano Lesson”. Danielle Deadwyler‘s portrayal of Berniece was nothing short of mesmerizing – she truly embodied the character, making her feel real and relatable.
In Malcolm Washington’s first directorial effort, his father Denzel Washington produces a deeply respectful rendition of August Wilson’s play “The Piano Lesson“. The performance by actress Danielle Deadwyler serves as the focal point, with all other performances orbiting around her.
I immerse myself fully into the character of Berniece, the steadfast and unyielding co-protagonist in Wilson’s gripping drama that explores generational trauma and inheritance. Just as I do with many other roles, I become one with Berniece, seamlessly slipping into her persona with a quiet grace. Once we are united, I delve deep to discover and express her authenticity. The outcome is frequently electrifying.
Through Berniece, Deadwyler evokes a powerful connection tying Wilson’s 1987 play, the fourth in his Century Cycle, to its origin. In discussions, Wilson traced his inspiration back to Romare Bearden’s 1983 color lithograph bearing the same title. This artwork features a music teacher observing a student playing the piano, their gazes reflecting deep concentration mixed with subtle melancholy. The act of playing appears to be both an obligation and a source of joy. What is their relationship? Who are these women to each other? Wilson envisioned them as mother and daughter, and in “The Piano Lesson,” he sets the circumstances that may have arisen from and resolved this moment. In Washington’s adaptation, Berniece, upon taking her seat at the piano, mirrors a comparable intensity of focus, suggesting she embodies both roles simultaneously.
Before any of that transformation occurs, though, Washington offers a backstory. The Piano Lesson opens on the fourth of July in 1911. While a white family gathers on their lawn to watch fireworks, a trio of Black men work in the shadows to take a piano from the house. The instrument is a work of art: Etched in the upper panels is a triptych representing the Charles family’s history. Portraits of a mother and son flank the center image, which is populated by significant ancestors and their milestones. Twenty-five years later, in the summer of 1936, the piano sits untouched in the home of Doaker Charles (Samuel L. Jackson), where his niece Berniece lives with her daughter, Maretha (Skylar Smith).
For some time now, the piano has not been given much thought – that is, until Doaker’s nephew, Boy Willie (John David Washington), makes a comeback to Pittsburgh with a novel idea. His intention is to sell the piano in order to acquire a portion of the Sutter family plantation in Mississippi. This acquisition would symbolize reconnecting and reclaiming roots. The Sutters once enslaved the Charles family, using the money earned from selling them to purchase the very piano at hand. If Boy Willie manages to own a piece of that land, he could rewrite its history, transforming it from a place of fear into one of personal wealth. Upon his arrival in Pittsburgh with his companion Lymon (Ray Fisher), he storms into the Charles residence, brimming with excitement over his plan.
However, Berniece refuses to part with the piano. Her feelings towards her brother Boy Willie remain strained due to his role in the death of their father, Crawley (Matrell Smith). The play delves into the conflicts that arise between them as they discuss the fate of their only family inheritance. To Berniece, the piano symbolizes the most solitary years she spent with their mother, who never fully recovered from the grief caused by the Sutters’ killing of her husband for stealing the very same piano. For Boy Willie, it’s a source of loss and painful memories. He proposes selling it as a means to move forward and start anew.
As a gamer, I’m immersed in the world that director has crafted for Berniece and Boy Willie’s relationship with the piano. This journey delves into their childhood memories, offering glimpses of their past that break free from the formalities often associated with adapting a classic work. The director isn’t afraid to experiment, making alterations here and there, some more effective than others.
Deadwyler’s portrayal of Berniece significantly elevates other performances in “The Piano Lesson,” as she frequently clashes with a group of seemingly apathetic men who appear to disregard the struggles of the Charles women. I ponder over a rendition of this play that centers around her perspective, delving into the maternal bond with equal intensity as the paternal one. Washington’s direction appears more assured when focusing on the male characters, drawing parallels between their modern-day complex suppressions and the brutal and racially charged traumas from their past. Scenes such as the one where Doaker, Boy Willie, Lymon, and Wining Boy (brilliantly played by Michael Potts) share stories about their experiences at the Parchman Prison Farm encapsulate the powerful release of a unique camaraderie.
Actor Washington delivers an impactful performance as Boy Willie, a role that masks his deep sorrow with vivacity and rapid speech. He skillfully portrays this character’s cunning actions and unwavering desire for quick profit, but struggles somewhat when asked to express more nuanced emotions.
Even so, Deadwyler and Washington play off each other nicely. Their acting is exceptionally vibrant during the conversations about family inheritance between Boy Willie and Berniece. In one powerful scene, Alexandre Desplat’s dramatic score accentuates the importance of their verbal sparring matches. It’s also important to note Corey Hawkins’ captivating portrayal of Avery, a preacher who is wooing Berniece and trying to exorcise the spirits from the Charles household.
It’s evident that Washington puts a great deal of effort into adapting Wilson’s work, and “The Piano Lesson” certainly has many commendable aspects. The director has gathered a talented cast, whose passionate acting effectively brings out the power in Wilson’s renowned play. However, this devotion can sometimes be restrictive, and there are moments when “The Piano Lesson” seems overly devoted to its source material, finding it difficult to break free from the shadow of the stage.
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2024-09-01 02:24