“Berniece ain’t gonna sell that piano,” says literally everyone except Boy Willie. This is the definitive statement that is repeated throughout the play. Why won’t she sell it? Is it the beautiful carvings that depict the family’s history? The voices that still linger in the haunted air? The blood, tears, and sweat that run deep into the wood? Is it to honor the past? Or is it because she is terrified of the past becoming her future? And what is the underlying roar that is driving Boy Willie to defy everyone, real or imaginary, to drag the piano out of the house to sell it? Is he, too, being haunted by a past disguised as hope for a future? The fourth installment of August Wilson’s Century Cycle Celebration, The Piano Lesson is electrifying, and the strength of the Everyman Theatre cast brings us all back home.
Set in the 1930s of Pittsburgh, Pennsylvania, The Piano Lesson, written by August Wilson and directed by award-winning Paige Hernandez, tells a tale born in a constant state of struggle. A struggle between who is right and who is wrong. One between the past, present, and future. The war between ghosts and the souls that still breathe life. All centered around the complicated history of the family’s piano.
This powerful story, beginning in the era of slavery, defines a family legacy for generations. From members of the family being sold to cover the cost of the piano, to someone dying in pursuit of gaining what was felt to be freedom for the family. The recounting of the various events that all center around this spiritually and physically weighted instrument will hold you captive for the entire duration of the play. You will question the argument of sentiment over hope. And how does one truly bring honor to our ancestors?
The restless, brash, and relentless Boy Willie, triumphantly portrayed by RJ Brown, believes the past should be steamrolled to bring about a better future. However, his vigilant sister Berniece, the de facto guardian of the souls held within the piano, depicted by the talented Chinai Routté, believes the past should be forever front and center as a living reminder of the lives, stories, and sacrifices of those who came before. So, does the piano stay or does it go? And with it, the question of true ownership. Who really owns the family piano? The ghost of Sutter, or the breathing, walking descendants of the family his ancestors owned? Beautifully written and expertly portrayed, this story is not as black and white as you might feel it should be. Often, you find yourself in the misty gray of right and wrong.
Truly, this is one of my favorite plays by August Wilson because it tugs at so many emotions, and I absolutely love the haunted aspect of it. And the entire production was top-tier. Across the board, everyone should feel extremely proud of the work that was produced.
One of my absolute favorite moments was the musical one when the men sing the song of the railroad. It was strong, heavy, poignant. You weren’t simply watching them; you were experiencing their pain, frustrations, their strength, their exhaustion. Watching Jefferson A. Russell, who was fantastic as Doaker, break down sobbing on his fellow man’s shoulder was visceral.
Another moment that pulled on all the right strings was one with Wining Boy, acted by KenYatta Rogers, filled with regret over the death of the one woman he loved. Listening to him recount his life and how he failed himself and her, but still had hope because of her mere existence, was potent.
You know a role was well played when the actor and the character become one. Boy Willie was a standout. Although his cadence was just a touch too fast-paced, it convinced you of his passion and solidified his dream. And his blatant disrespect for his sister and her wishes made my blood pressure rise. While you could see his point of view, the chance that he might be misguided, or that perhaps there are potentially multiple correct answers, never enters his mind. Quite literally, it’s his way and his way only. And no one can tell him different.
And you can’t talk about Boy Willie and not speak of his sister, Berniece. Her quiet resolve hides her fixation and anger with the past. She carries the burden of family history on her shoulders. And it’s quietly killing her. She doesn’t live her life so much as just go through the motions of life. While she has no real hope for herself, she fervently tries to give hope and possibilities to her daughter. And quite literally takes a spiritual shattering to alter her forward steps to include her own self-worth and happiness.
My only disappointment was the actual showdown between Sutter’s ghost and Boy Willie. While the scene was well-crafted and eerily depicted, it would have been amazing to have a physical representation of Sutter to lay eyes on. But the scene was still well-played, and completely surreal.
The bones of the past are not buried here — they live. August Wilson’s work is still so relevant in today’s political, racial, and economically charged climate. This play offers you a chance to mourn, to reckon, and to uplift, while standing still with the tension. Overall, The Piano Lesson was an impressive way to kick off the 35th season here at Everyman Theatre, and it garners my high recommendation to catch this show while you can.
Running Time: Two hours and 30 minutes with a 15-minute intermission.
Piano Lesson plays through September 28, 2025, at Everyman Theatre, 315 West Fayette Street, Baltimore, MD. For tickets (starting at $55, with student discounts and Pay-What-You-Choose tickets at every performance), call the box office at (410) 752-2208 (Monday-Friday, 10 am to 4 pm and Saturday 12 to 4 pm), email boxoffice@everymantheatre.org, or purchase them online.
The playbill is here (scroll down).
Piano Lesson
By August Wilson
Directed by Paige Hernandez
CAST
Boy Willie: RJ Brown
Maretha (alternating): Payton Crosier and Mecca Rogers
Lymon: Louis E. Davis
Avery: Mack Leamon
Wining Boy: KenYatta Rogers
Berniece: Chinai Routté
Doaker: Jefferson A. Russell
Grace: Mecca Verdell
CREATIVES
Set Design: Daniel Ettinger
Costume Design: David Burdick
Lighting Design: Alberto Segarra
Sound Design: Dave Remedios
Wig Design/Hair Consultation: Denise O’Brien
Fights & Intimacy: Gerrad Alex Taylor
Dramaturgy: Robyn Quick
Stage Manager: Hannah Louise Jones
Piano Recordings: Will Lebow and Quincy Phillips