Shakespeare & Company, Lenox, MA
through August 24, 2025
by Shera Cohen
Cast and crew of “The Piano Lesson” bring Wilson’s words and setting into a real world for the audience to see and experience. We are invited to sit in the living room of a cluttered, over-populated, old home in the 1930’s, whether we want to or not. The advice of creative writing teachers of decades ago, and probably today, is to “show, don’t tell” and “tell what you know”. Wilson does exactly that.
Only on two occasions does anyone actually play the piano. The instrument depicts an old, heavy, wooden, scratched, upright piano nearly centered and slightly to the rear on the stage. The piano is ever-present, steadfast, in spite of various efforts to remove it. In many ways, the piano becomes a character, if not the central character.
Adult sister Berniece and brother Boy Willie (portrayed by Jade Guerra and Omar Robinson, respectively) exude diametrically opposing personalities. Guerra and Robinson are evenly matched in their strong stance toward each other. This is the theme carried throughout the story. The piano’s lessons are memories, history, and heritage of one family.
Robinson is a fast-talking powerhouse, full of bravado, dreams, and himself. He is surrounded by brothers, uncles, and neighbors; telling them stories and seeking their approval in this battle of the siblings.
Music becomes an important element of the play, as it represents the community of African-Americans as well as this specific gathering. One man begins to sing, others accompany; each character knows the words by heart. Nothing holds people together like memories. Setting memories to music makes each other more powerful.
On the flip side, the director, lighting designer Jjames McNamara and sound designer James Cannon provide extreme special effects at various moments, creating a mystical timbre accompanying the background tale of Berniece and Boy Willie’s family. Wilson’s play calls for eeriness, although it seems to take what is otherwise a straightforward, dramatic story to an uneasy realm.
All actors are strong: the cadre includes last season’s award-winning “ranney;” Berniece’s daughter portrayed by a sweet Ariel Phillips; and Anthony T. Goss, equally sweet in his own way as the none-too-bright accomplice to Boy Willie’s con jobs. Goss’ comedic timing is spot-on, providing most of the humor.
The one-room set by Jon Savage is small for the eight actors who often take the stage at the same time. The audience knows that Berniece is living on the edge, doing her best. Guerra depicts her character as a strong woman of conviction, unrelenting in her actions and purpose to hold onto family memories – the piano! In contrast, Robinson’s Boy Willie is, as his name implies, very much a boy, repeatedly spouting reasons why he must prevail against his sister, and against centuries of memories.
“The Piano Lesson” represents family memories. Should they be set aside or buried, proudly displayed taking up space, or a mix of both?
