This struck me as a solid production, with maybe a few pacing issues to be worked out in previews; some scenes drag, and I’m not sure they’ve quite nailed the dramatic arc of the piece. But overall, it’s very strong; it’s well-acted, deeply felt, and faithfully performs Wilson’s rich text. I also thought the handling of the “spooky” moments was very effective.
I agree that John David Washington is the highlight of the production; his performance has the MAKINGS of a powerhouse, but maybe not quite there yet. For his stage debut, he already seems extremely comfortable, and his charismatic stage presence anchors the production. I just hope he finds a bit more of the dynamic levels in the performance; right now, it’s all pitched at the same high energy point, and he keeps returning to the same few gestures and line deliveries, regardless of the scene’s mood. But that can easily come with more time in the role. And again, he’s already very good, and feels like a fully realized character.
To call him a “discovery” though, is a little comical. Not only because he’s Denzel Washington’s son, but also because he’s already an established film star in his own right. But yes, I’m glad we’ve “discovered” his proclivity for the stage.
Samuel L Jackson’s role is relatively small; he’s onstage a lot, but doesn’t have a ton to sink his teeth into, for such a huge name. But he still brings all the refined skill you’d expect him to bring to any role.
As for Danielle Brooks: I LOVED her in Color Purple, I LOVED her in Much Ado, and I…liked her in this. She handled the heavy, emotional scenes really well, but seemed a little uneasy during the more natural, casual scenes. Again, something that can very well improve with time in the role.
The ensemble here is really strong; Rai Fisher, Trai Bryers, and Michael Potts all shine in supporting roles, and even April Matthis is a stand-out with only 2 short scenes. At times, I felt like they even outshined their more famous co-stars.
The play (which I was seeing for the 1st time) has Wilson’s trademark richness, presenting this lived-in world, with fleshed out characters. The central plot device surrounding the piano makes for extremely compelling drama, both on a character level, and a thematic/metaphorical level.
Even though I’ve seen/read my fair share of 20th century classics, it can still be a little jarring to note how different these old-fashioned plays are, structurally. A modern playwright would’ve written this as a 2-hander, where Berniece and Boy Willie spend 90 minutes hashing it out over the piano. Whereas this play feels like LITERATURE. It’s what makes Wilson brilliant, but it’s also a lot to absorb in one sitting, and maybe difficult for modern directors to fully tackle the breadth of the drama onstage.
Overall, I’d say this production fell SLIGHTLY below my expectations, but considering my expectations were pretty high, falling slightly below them is still a good place to be in.
