"The Piano Lesson" is a drama written by American playwright August Wilson. It premiered on June 13, 1990, at the Mark Taper Forum in Los Angeles, directed by Lloyd Richards. The play is the fourth installment in Wilson’s ten-part series known as the Pittsburgh Cycle (also called the Century Cycle), which depicts African American experiences in each decade of the 20th century.
Synopsis
The narrative is set in 1936 in the Hill District of Pittsburgh and centers on the Charles family’s dispute over a heirloom piano. The piano, intricately carved with the likenesses of the family’s ancestors, symbolizes both a legacy of oppression and a potential source of economic freedom. The two brothers, Boy Willie (who wishes to sell the piano to purchase land) and Lymon (who wants to preserve it as a cultural artifact), embody conflicting attitudes toward heritage and progress. The play explores themes such as memory, slavery’s legacy, intergenerational trauma, and the role of art in African American identity.
Characters
- Berniece Charles – Boy Willie’s sister, caretaker of the piano, reluctant to part with it.
- Boy Willie Charles – Berniece’s brother, determined to sell the piano.
- Lymon – Berniece’s husband, a lawyer working for the Dyer Brothers.
- Doaker Charles – Uncle of Berniece and Boy Willie, runs a barbershop.
- Wesley and Rosie – Doaker’s children.
- Martha, Willa, and Aunt Liza – Extended family members.
- Samuel and Avona – Ghosts of ancestors previously enslaved by the piano’s former owners, who appear in a climactic scene.
Production History
After its Los Angeles debut, the play opened on Broadway at the Vivian Beaumont Theater, New York, on May 9, 1990, where it ran for 299 performances. The original Broadway cast included Samuel L. Jackson (Boy Willie) and John Turturro (Doaker). The production earned the 1990 Pulitzer Prize for Drama and won the Tony Award for Best Play.
Subsequent notable productions include a 2007 Broadway revival directed by Kenny Leon, starring John Legend as Boy Willie and Denzel Washington as the ghost of the piano’s master. In 2013, the National Theatre in London staged a production under director John Kani. The play continues to be performed regionally and academically, often featured in curricula focusing on American theater, African American studies, and cultural history.
Critical Reception
Critical response has highlighted Wilson’s lyrical dialogue, the integration of supernatural elements, and the nuanced portrayal of African American family dynamics. Scholars often note the play’s intricate balance between personal narrative and broader historical context, emphasizing its contribution to contemporary drama and its exploration of post‑Emancipation African American experiences.
Themes and Analysis
- Heritage versus Materialism – The piano embodies both a tangible asset and an intangible cultural memory.
- The Legacy of Slavery – The carvings on the piano recount the family’s enslaved ancestors, linking past trauma to present decisions.
- Spirituality and the Supernatural – Appearances by ancestral ghosts underscore the persistence of history in everyday life.
- Art as Identity – The piano itself serves as a metaphor for artistic creation and its role in sustaining communal identity.
Awards and Honors
- Pulitzer Prize for Drama, 1990
- Tony Award for Best Play, 1990
- Drama Desk Award for Outstanding Play, 1990
Publication
The script was first published in 1990 by The New Press and is included in many anthologies of American drama and African American literature.
