The Piano Lesson by August Wilson (1990)

Summary:  Boy Willie returns to his sister's house to claim their heirloom family piano (they each own half of it).  With the profits from this piano, he hopes to buy some of the land that his ancestors worked on as slaves and start a new life for himself "down South."  His sister Berniece refuses, reminding him that the faces of their great-grandparents (slaves) are carved into the wood.  The piano was first owned by a white slave-owner named Mr. Sutter and then stolen by Berniece and Boy Willy's father.  Shortly after stealing the piano, he was killed...but the piano remained as inheritance for his children.  To Berniece, the object represents family history, pride, struggle and a connection to the past.

Thoughts:  As I began this project, I became more interested in various projects of great ambition by playwrights, notably Suzan Lori-Parks' 365 Days/365 Plays project (November 2002-2003) and The Pittsburgh Cycle, which contains two Pulitzer Prize winning plays.  Also called The Century Cycle, this set of Wilson's plays each represent a decade of the 1900s and were written from 1982 to 2005.

They are:
1900s:  Gem of the Ocean (2003)
1910s:  Joe Turner's Come and gone (1988)
1920s:  Ma Rainey's Black Bottom (1984)
1930s:  The Piano Lesson (PP) (1990)
1940s:  Seven Guitars (1995)
1950s:  Fences (PP) (1987)
1960s:  Two Trains Running (1991)
1970s:  Jitney (1982)
1980s:  King Hedley II (1999)
1990s:  Radio Golf (2005)

Having also read Wilson's Fences for this project, I naturally found myself drawing connections between these two works.  Both of the plays examine familial relationships and are aided by the perspective of an outsider (Bono in Fences, Lymon in The Piano Lesson).  These characters are able to offer more tempered advice and perspective as they are not relatives but have decades experience participating in the interpersonal relationships of the families.  Additionally, both of these plays contain elements of the supernatural.  In Fences, Troy's mentally handicapped brother Gabriel believes he is the angel Gabriel and has a divine vision in the final scene.  The supernatural is much more prevalent in The Piano Lesson as the ghost of Sutter (the white slave-owner whose piano was stolen by the Charles' family) appears multiple times to different members of the cast, making it very clear that he does not want the piano moved.

While critics certainly have their favorites, I am reminded of the words of my professor David Jones, who described following progress of The Pittsburgh Cycle as:  "It was like watching someone build a Gothic cathedral."

Topdog/Underdog by Suzan Lori-Parks (2002)

Summary:  Lincoln and Booth are adult brothers whose parents named them as a joke and later abandoned them when they were 16 and 11, respectively.  Younger brother Booth has recently developed an affinity for three-card monty, a game accompanied by a painful history for Lincoln.  While Booth is attempting to make money on the street, Lincoln holds a job as an Abraham Lincoln impersonator at an arcade.  At work, he sits in a chair (in whiteface) and gets "shot" by children on field trips and those seeking interesting entertainment.

Throughout the play, Booth attempts to get Lincoln to play three-card with him--arguing that they could go into business together and be wildly successful.  As the play progresses, the brothers laugh and fight and laugh and fight--until Booth reveals that he has killed his girlfriend and then kills his brother.

Thoughts:  I read this play shortly after reading some of Parks' other work (Fucking A, In the Blood, Venus) and it is evident that there are themes and characters that continue to reappear in her work.  In all four of these plays, Parks seems to argue that, whether we like it or not, our relationships with our families are significant and binding.  Even when her characters do everything in their power to break these bonds (including murder), they still remain.

The play also examines the the imperfection of memory--individuals in the same household remembering things in vastly different ways.  Although Booth is the younger brother, he saw his mother leave and was given the task of taking care of Lincoln--though he was certainly not old enough for this kind of responsibility.

"People are funny about they Lincoln shit.  Its historical.  People like they historical shit in a certain way.  They like it to unfold the way they folded it up.  Neatly like a book.  Not raggedy and bloody and screaming." 

-Topdog/Underdog, Scene 3  

 

Fences by August Wilson (1987)

Personal photo:  Fences at The Cort Theatre.  1 May 2010.

Summary:  The play takes place in front of 53 year-old Troy Maxon's house.  Alternately, Troy has conversations with his friend Bono, his wife Rose, his sons Cory and Lyons and his mentally disabled brother Gabriel.  Through these interactions, Troy's life story is revealed including a distant past that involves a previous marriage and prison time, and a current affair with a woman named Alberta.  Spliced throughout these interactions are Troy's monologues about facing death and direct-address to Death...staying that whenever He comes, Troy will be waiting.  Ultimately, the family finds themselves back in the front yard preparing for Troy's funeral--eight years after the start of the play.

Thoughts:  This was my second read of this play, and in the middle of my readings I was fortunate enough to see the Kenny Leon-directed production starring Denzel Washington and Viola Davis (who both won Tony Awards for their performances).  While I really liked the play the first time, the second read was infused with the voices of Washington and Davis.  Much like the Jimmy Stewart effect on Harvey, my memories of the performance greatly enhanced my second reading experience.

Our seats were about three rows from the back of the theatre (photo above taken from my seat); but the work of Davis and Washington was palpable throughout the entire space.  The audience was at least 85% black...and very vocally responsive to the action on stage.  When Troy confesses his affair, there was a collective gasp in the audience.  Moments later when he reveals that he has no plans to stop seeing Alberta because she makes him feel something, there were groans and clucking noises of disbelief and judgment.  At the climax of his revelations, he informs Rose that Alberta is pregnant.  At this point, a woman in the orchestra section loudly shouted, "Get him!" to Rose onstage.  While reading this scene, I vividly remembered not only these outbursts but the effect that having to hold for these responses had on the rhythm of the scene.

Although The New York Times had positively reviewed Washington's performance, I was skeptical.  Struggling actor friends had expressed their displeasure with the fact that two very successful film actors were taking Broadway jobs that could have been given to actors who actually needed the money.  Moments before the production began, my friend Nick gave voice to my own skepticism.  He said, "I mean....yes...Denzel is a good actor, but I feel like I am always seeing a different version of him instead of an actual character."  Fifteen minutes into the play, we both knew that this was performance was different.  The only time I felt like I was watching Denzel Washington was when he entered for the first time and the swoons of the audience overpowered the action on stage.  Otherwise, the performances of both Washington and Davis were so powerful that I literally held my breath during each of their longer monologues.

Personal photo:  Fences with Nick and Ryan at The Cort Theatre.  1 May 2010.

"Some people build fences to keep people out...

and other people build fences to keep people in." 

The Green Pastures by Marc Connelly (1930)

Summary:  In the first scene, children in a “negro church” are asking typical children-at-Sunday-School questions, concerning why God decided to create the world.  Their teacher gives them typical “I don’t know, read the Bible” answers.   In the next scene, God is in Heaven, lamenting his boredom and decides to create man and the world.  The next thirteen scenes follow God and man’s interactions from The Garden of Eden to Noah to Moses to the eventual crucifixion of Christ.

Thoughts:  In the spirit of Rice's Street Scene, I found myself having to read much of this play aloud because it is written in “typical negro dialect.”  The play is full of sentences like, “An’ you better take an’ git married an’ settle down an’ raise some chillun.  Dey ain’t nothin’ to make a man fo’git his troubles like raisin’ a family.  Now, you better git” and “You got two bad lookin’ eyes.  I bet yo’ hot coffee ‘mong de women folks” (402, 403).

While the play was written by a white male and much of the dialogue is stereotypically problematic, I was intrigued and appeased (?) to discover that this was the first play on Broadway with an entirely black cast.  I wasn’t always thrilled to be reading it, but now I am very interested in the play’s production history, audience reception and critical reviews.