The vibes were electric from a full theater at the Telluride Film Festival in anticipation of Malcolm Washington’s directorial debut, “The Piano Lesson.” After Washington humbly thanked everyone for making it out to the early morning screening, lights dimmed and the experience of Boy Willie, Doaker, Berniece, Whining Boy and Lymon began.
The August Wilson play was originally performed at the Yale Repertory Theatre in November 1987 with Samuel L. Jackson starring as Boy Willie, before moving to Broadway where Charles “Roc” Dutton took over the role originated by Jackson. “The Piano Lesson” would go on to be nominated for five Tony Awards and win for Best Play, also taking the 1990 Pulitzer Prize for Drama and the Drama Desk Award for Outstanding Play. It would go on to get a 1995 television adaptation for Hallmark before being revived in 2022 for the stage. Directed by LaTanya Richardson Jackson, the revival starring Danielle Brooks, Samuel L. Jackson (moving to the role of Doaker Charles) and John David Washington became the highest-grossing revival of a play on Broadway.
Jackson, Washington, Ray Fisher and Michael Potts have carried over from that production to the new Netflix film. The action kicks off in 1936 on Independence Day, with the narrative of strong-willed siblings Boy Willie (Washington) and Berniece (Danielle Deadwyler) simmering as they fight over the future of a 137-year-old piano serving as a legacy symbol representing the family’s history.
Generational wealth and preserving the legacy of one’s family no matter what form it may come in is a staple in the Black community, as well as using music as our language to congregate, elicit joy and/or despair. Additionally, we all have that one relative who comes with slick talk selling dreams of grandeur, as well as a sibling that no matter what we do just can’t seem to see eye-to-eye on anything – let alone selling our legacy for someone to burn or use as firewood, ignorant to the historical significance of the instrument in question.
Berniece and Boy Willie may not agree, but Danielle Deadwyler and John David Washington are the dynamic cinematic duo I didn’t know I needed. Both perfectly capture the fire associated with August Wilson’s dialogue. When Boy Willie says, “I feel slow just like molasses with the world just slipping by me,” it will resonate with audiences through every fiber of their being as everyone has felt this way personally or professionally at some point in their lives.
Wilson is known for his meaty monologues; his characters often provide subtext about their lives during the course of any given scene. Doaker has one of the best speeches, breaking down the piano’s history and importance and solidifying Berniece’s unwillingness to sell. Samuel L. Jackson is hilarious as Doaker and serves as the anchor for the entire piece. Deadwyler is equally powerful, one of the best and brightest talents of her generation.
However, John David Washington is transformatively magnificent as Boy Willie. His command of this character is complex, layered and empathetic all in one fell swoop, making Boy Willie his best performance to date. Equally as powerful are Corey Hawkins (Avery), Michael Potts (Whining Boy) and Ray Fisher (Lymon).
Production designer David J. Bomba should be lauded for the piano alone, with its intricate, haunt-like carvings. Costume designer Francine Jamison-Tanchuck has a proven record of Black excellence and this time is no different.
Malcolm Washington, in tandem with cinematographer Mike Gioulakis, brought vivid imagery to something as simple as a reverberating plucked piano key, placing the audience right in the belly of the instrument. With his cinematic re-envisioning of this Wilson classic, Washington hits every note to perfection.
Having seen the original play, I missed the larger presence Grace had on stage, but was enthralled by the juke joint world she inhabits alongside Erykah Badu as the chanteuse club vocalist.
More than just a sibling story, “The Piano Lesson” reminds women they can be anything without a man. As a rule of thumb, most of Wilson’s plays only feature one or two women, leaving the men to shoulder the heavy loads of dialogue. Yet these male characters run the gamut from conniving to loving, supportive and comical, reminding us of another Black community staple: owning land. Having property is as important as securing an education for people of color and is something ingrained since slavery when Blacks were forbidden to read and write.
With performances that will resonate and a directorial debut that will not soon be forgotten, “The Piano Lesson” is a lesson in love, friendship and family. It serves as a reminder that generational wealth is not just monetary, but emotionally and genetically tied to our ancestors.
“The Piano Lesson” will be released by Netflix.
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