The Piano Lesson

Play (1987)
by August Wilson
Directed by Christopher V. Edwards
Actors’ Shakespeare Project
Hibernian Hall, Roxbury, Boston
January 23 – February 23, 2025

Scenic Designer: Jon Savage; Costume Designer: Nia Safarr Banks; Lighting Designer: Isaak Olson; Sound Designer: James Cannon

With Anthony T. Goss (Lymon), Jade Guerra (Berniece), Jonathan Kitt (Doaker Charles), Brittani J. McBride (Grace), Ariel Phillips (Maretha), “ranney” (Wining Boy), Daniel Rios Jr. (Avery), Omar Robinson (Boy Willie)

In 1936, a couple of decades into The Great Migration, Boy Willie (Omar Robinson) shows up at his sister Berniece’s (Jade Guerra) house in Pittsburgh unexpectedly with his friend Lymon (Anthony T. Goss), presumably with a truckload of watermelons from Mississippi to sell. But Berniece is skeptical, because Willie has a long history of double-dealing and she knows he is likely to be up to no good. It turns out that Willie’s real agenda is to try to sell off the family piano which resides at Berniece’s house and which they have inherited from their parents and grandparents. The history of that piano is a dark and interesting one, but, especially for Berniece, it retains powerful significance.

A ghost of an old slaveowner seems to be inhabiting the house and Berniece is beside herself with anxiety. She has also lost her husband within the last few years and is the single mother of a young girl, Maretha (Ariel Phillips). Avery (Daniel Rios, Jr.), an old family friend, has now got religion and is aspiring to set up a congregation and he wants Berniece to be his wife, but she is still too broken and frazzled to consider it. Meanwhile, Lymon is on the make generally and showers some attention on Berniece, which makes her plight that much more difficult. Surrounding these players are Doaker Charles (Jonathan Kitt) and Wining Boy (“ranney”) who offer perspective, and support metaphorically and literally the music that inevitably surrounds this group of family and friends, and which metaphorically and literally emanates from the eponymous piano itself.

This exceptionally dynamic production of the quite long but evocative depiction of life in the black community of migrants from the South in Pittsburgh in 1936 manages to pull off a great, coherent and lively result amid its flurry of words. The choice by director Christopher V. Edwards to turn the dialogue into a persuasive recital of speeches as though they were ballads and incantations makes a great deal of sense. The result is verbal music, with a tremendous amount of rhythm and action emerging simply from the dialogue. It’s very effective.

When, at one point, the dialogue breaks and there is a sudden emergence into song preceded by a large quiet gap, the profundity both of the insistent music of the dialogue and the compelling music of the choral harmony that succeeds it is striking. The singing by the several men sitting around the table – Doaker, Wining Boy, Lymon and Boy Willie – is rich and tuneful, and its devotional quality in the midst of the rambunctious verbal give and take, principally between Boy Willie and his sister Berniece, is supremely evident.

Underlying the narrative is the playoff between the fast-talking and slick-operating of Boy Willie, and the devotional element, superficially noted in the character of Avery, but more deeply evoked by Berniece, especially when it comes time for her to exorcise the ghost of the old slaveholder. That deeper sense of the devotional underlies, as well, Berniece’s feelings towards her brother, justifiably skeptical and confrontational, but which exhibit echoes of connections more subtly compassionate.

As Boy Willie, Omar Robinson is truly outstanding. His energy, the quality of his rap, his entire embodiment of this role, is distinctive. He at once conveys a character completely untrustworthy and manipulative, and, as well, one that is irresistibly magnetic. While watching Robinson’s persuasive performance I was reminded of Joe Mantegna’s performance as Ricky Roma, the talented, electric, unscrupulous real estate salesman in David Mamet’s Glengarry Glen Ross (1983). Robinson’s embodiment of Boy Willie is equally compelling and untrustworthy, and it takes a particular kind of thespian moxie to get that across in its full flower of contradiction.

As Berniece, Jade Guerra gives a very solid and appropriately sober performance, conveying the inner tragedy of the character while communicating something essential about her resiliency. In dealing with Lymon’s approaches, her vulnerability shows through vividly and Guerra conveys that with subtlety and nuance.

As Lymon, Anthony T. Goss combines a young guy’s uncertainty with a fast guy’s suavity and he manages to put those together quite well, while playing dutiful second fiddle to Boy Willie’s dominating first. Jonathan Kitt offers solid and durable support as Doaker, and “ranney” as Wining Boy provides lively dramatic and musical embellishments. As Lymon’s episodic girlfriend, Grace, Brittani J. McBride offers a solid portrait of seductiveness and disgruntlement. As Berniece’s daughter, Maretha, Ariel Phillips is, with few words, charmingly evocative.

The set is beautiful, and the variety of musical moments are exceptionally done, adding to this beautifully acted and directed outing.

– BADMan (aka Charles Munitz)