Playwright: August Wilson. At: Court Theatre, 5535 S. Ellis. Phone: 773-753-4472; $32-$54. Runs through June 7. Photo by Michael Brosilow
Seeing August Wilson's 1990 drama The Piano Lesson serves as a vital reminder of how much the late playwright was a master of both American history and magical realism. Court Theatre's lovingly staged revival under director Ron OJ Parson is a must-see for anyone—particularly for those who love hearing cracking good dialogue that doubles as musical poetry.
As Wilson's 1920s entry in his 10-play cycle documenting African-American lives in the 20th century, The Piano Lesson shows members of the Charles family in Pittsburg in the midst of the Great Migration.
Causing much of the conflict is a debate over what to do with the family's slavery-era piano that is covered in historical carvings. Berniece wants to keep the piano so her daughter, though she silently resents the pain the piano has caused her family. But her loud-mouthed brother, Boy Willie, travels north so he can sell it and use the money to buy farm land.
Simmering beneath the surface of the family are loads of personal resentments and recriminations, not to mention superstitions about ghosts that also seem to take sides over the piano.
While some may be disappointed that Wilson leaves some plot threads dangling in The Piano Lesson, the play does provide a glorious window into lives of an African-American family still haunted by violence, yet hoping for a better future.
The Court Theatre's Piano Lesson is blessed with a wonderful cast of Wilson veterans ( and a few newcomers ) who all clearly relish fleshing out their characters.
Any production of The Piano Lesson rises or falls on the actor playing Boy Willie, and we have a winner with Ronald Conner. He firmly takes charge and virtually steamrolls everyone with his character's single-minded determination.
Tyla Abercrumbie's Bernice is powerfully reticent, showing a woman wrestling with life's disappointments ( and one who must cope with Boy Willie's blustery routine ) .
In the roles of the uncles, both A.C. Smith and Alfred H. Wilson bring a wealth of experience to their respective roles of railway worker Doaker and washed-up jazz recording artist "Wining Boy" ( Wilson is particularly amazing as he tickles the ivories and sings along ) .
Brian Weddington gets the fresh-faced country boy Lymon just right as a first-time explorer of a big northern city, while Allan D. Edge brings all the humor and gravitas to the up-and-coming preacher Avery ( who is also courting the widowed Berniece ) .
In the role of Grace, Alexis J. Rogers wrings every bit of humor out her good-time girl cameo.
After staging Fences and with Ma Rainey's Black Bottom on the horizon, Court Theatre is rapidly becoming the place to see Wilson's works. Catch The Piano Lesson while you can.
