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The Piano Lesson, by August Wilson
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Winner of the Pulitzer Prize for Drama
Winner of the New York Drama Critics Circle Award for Best Play
August Wilson has already given the American theater such spell-binding plays about the black experience in 20th-century America as Ma Rainey's Black Bottom, Joe Turner's Come and Gone, and the Pulitzer Prize-winning Fences. In his second Pulitzer Prize-winner, The Piano Lesson, Wilson has fashioned his most haunting and dramatic work yet.
At the heart of the play stands the ornately carved upright piano which, as the Charles family's prized, hard-won possession, has been gathering dust in the parlor of Berniece Charles's Pittsburgh home. When Boy Willie, Berniece's exuberant brother, bursts into her life with his dream of buying the same Mississippi land that his family had worked as slaves, he plans to sell their antique piano for the hard cash he needs to stake his future. But Berniece refuses to sell, clinging to the piano as a reminder of the history that is their family legacy. This dilemma is the real "piano lesson," reminding us that blacks are often deprived both of the symbols of their past and of opportunity in the present.
- Sales Rank: #36942 in Books
- Brand: Plume
- Published on: 1990-12-01
- Released on: 1990-12-01
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .40" w x 5.30" l, .31 pounds
- Binding: Paperback
- 144 pages
- Great product!
Review
Winner of the Pulitzer Prize for Drama
Winner of the New York Drama Critics Circle Award for Best Play
"Heart-stopping... The play's real music is in the language... Mr. Wilson's most virtuosic writing to date."—The New York Times
“Stupendous… rich and resonant.”—The Washington Post
“Feisty, ebullient, exuberant… Wilson is a consummate storyteller.”—Los Angeles Times
About the Author
August Wilson was a major American playwright whose work has been consistently acclaimed as among the finest of the American theater. His first play,Ma Rainey's Black Bottom, won the New York Drama Critics' Circle Award for best new play of 1984-85. His second play, Fences, won numerous awards for best play of the year, 1987, including the Tony Award, the New York Drama Critics' Circle Award, the Drama Desk Award, and the Pulitzer Prize. Joe Turner's Come and Gone, his third play, was voted best play of 1987-1988 by the New York Drama Critics' Circle. In 1990, Wilson was awarded his second Pulitzer Prize for The Piano Lesson. He died in 2005.
Most helpful customer reviews
4 of 4 people found the following review helpful.
Southern Lit in Pittsburgh
By Carl Parsons
August Wilson's Pittsburgh Cycle of dramas makes perfect complement to, and perhaps a counterweight to, Faulkner's novels and stories about Mississippi. It's as though some of Faulkner's characters escaped and settled in Pittsburgh but brought with them the conflicts and emotions of their Southern roots. Often plays do not make good reading since they are meant to be seen, but Wilson's dialogues are so strong, realistic, and poetic at times that the play comes alive in the imagination, even without a physical stage. Moreover, The Piano Lesson is one of the best plays in the Pittsburgh Cycle. I like it even more than Fences.
5 of 5 people found the following review helpful.
Great and Important, but Far From Perfect
By Kevin L. Nenstiel
As the last living memory of American slavery gives way to the hurlyburly of the Twentieth Century, the Charles family piano straddles the line between the two. Not just a musical instrument, it's a work of visual art. The Charles family must resolve whether it belongs to them, a monument to loved ones long gone, or whether its monetary value can pave the way to a productive future of ownership on the land where they once were slaves.
The fourth play in Wilson's "Century Cycle," and the fifth written, turns on the question of whether it is nobler to honor the past or look to the future. As we expect from a writer of Wilson's caliber, "The Piano Lesson" is full of family tension, careful nuance, buried secrets, and stirring revelations. The dialog also sings with the stunning passion of African American folk language, in a music comparable to David Mamet, but distinctively Wilson's own.
My problem with the play is the second act. Act One is unified, tightly structured, and although it appears slow moving, every line of dialog is packed with insight. But Act Two breaks down into a number of short scenes, looser in structure, at least one of which (II.iv) could probably be removed without damaging the play. And the conclusion is too abrupt. The threads suddenly wrap up very neatly in a way that feels sudden and unearned.
The TCG hardback includes an introduction by Nobel laureate Toni Morrison. She makes some interesting points about the difference between reading a play as literature, and seeing it performed on the stage. She's right to say that details which can only be alluded to onstage--such as Lymon's truck or Sutter's ghost--become more real when read off the page. Concise and insightful, Morrison's intro is almost as worth a read as the play itself.
This play is of value both as a part of Wilson's magnum opus and as a literary gem in its own right. But that value is packed almost entirely into Act One. I recommend reading this play as a literary gem and as a great piece of American culture. But be aware that, like most literature, it is imperfect, and the greatness that creates the play is what makes its shortcomings all the more visible.
0 of 0 people found the following review helpful.
Five Stars
By Milagro
Incredible play.
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