THE PIANO LESSON run dates: 3/7/2008 - 3/13/2008 E. C. Mabie Theatre, UI Theatre Building, Iowa City ____________________________________________________________________________
Describing August Wilson as a prolific writer is about as profound as saying ice cream is cold, but I will say that this two-time Pulitzer Prize-winning playwright is an American theater giant whose work is as profound as it is influential.
The ten-play series that illuminates some aspect of African American history in each decade of the twentieth century was an ambitious project, but Wilson was up to the task. In addition to the Pulitzers, he also won five New York Drama Critic’s Awards, one Tony (seven nominations total), and a pair of awards from the American Theatre Critic’s Association and the Outer Critics Circle.
His compelling personal story also makes Wilson’s writing resonate in authentic ways, and the resulting scripts are always worth a second look.
In the case of THE PIANO LESSON, which is currently running at the University of Iowa’s E. C. Mabie Theatre, there is much to appreciate – even when the show runs well over three hours. At the length of a Shakespeare drama, there needs to be plenty of great material to keep us attentive, and this show has it. While the UI staging has some lulls that could tighten things up enough to shave off at least 20 minutes, the production is full of fine performances that deliver reams of great material just as they should be spoken.
Luis A. Sierra is great as Doaker, the elderly uncle of Berneice (played by Makeba Henry) and Boy Willie (Ethan Henry), and his first-rate turn – as the almost-gruff train porter whose even keel proves a family asset –helps keep this show on track. With shrugs and sighs that speak as loudly as any words, Sierra throws everything into this part, and the result is outstanding. His dancing and singing is yet another part of this thrilling performance, and Sierra darn near manages to walk away with the show.
Both Henrys are excellent as well, though the Boy Willie character is the showboat role. Ethan Henry gives Boy Willie a rangy lope that is perfect for this part, and his intensity is in sync with the outsized personality he plays. Makeba Henry's role is more internal, but she applies the same level of impassioned feeling to her performance.
Barrington Vaxter earns laughs with his sweet, dopey portrayal of Lymon, Boy Willie’s friend, and Kevin Burt is a standout as Wining Boy, another (incredibly more flashy, and much less reliable) uncle. One of my favorite scenes is when Burt’s Wining Boy sells a suit to Vaxter’s completely-enthralled Lymon: the interplay of grift and wonder is a priceless duet that earns as many smiles as it does belly laughs.
Another big hit in the show is the men’s vocals, and they throw out a number or two right in the middle of scenes – and do so in ways that feel organic rather than staged. Director Tisch Jones and the University of Iowa Theatre Department deserve kudos for bringing this work alive on the stage, and Jones should also be proud of just how alive it is.
