The Piano Lesson marks Malcolm Washington’s feature directorial debut, adapting the Pulitzer Prize–winning August Wilson play of the same name. Some of the cast are reprising their roles from a 2022 Broadway revival. The story focuses on the Charles family in Pittsburgh, who possess a precious heirloom that sits quietly in the middle of their home: a piano. Carved into its wooden frame are the faces of their great-grandparents, chiselled during a time when they were enslaved.
The story takes place in 1936, and the conflict begins when Boy Willie (John David Washington) wants to sell the piano to buy the land his ancestors were enslaved upon. His sister Berniece (Danielle Deadwyler) is fiercely protective of it, even though she never plays it. Their uncle Doaker (Samuel L. Jackson) tries to keep the peace, but something sinister is building up in their family home. A ghost descends on their home and Boy Willie gives Berniece an ultimatum that she is too scared to face.
The look and feel of the story made it clear that it was originally intended for the stage, with The Piano Lesson offering a more three-dimensional depiction of what a two-dimensional set might look like on Broadway. About 80% of the scenes and dialogue take place in and around the family home, limiting the number of settings. The other 20% of the film is set either in the past, at a slaveowner’s property, or at a bar once visited by some male characters. While The Piano Lesson is dialogue-heavy, the conversation is compelling enough to keep the audience engaged.
“While The Piano Lesson is dialogue-heavy, the conversation is compelling enough to keep the audience engaged.”
The ensemble cast was excellent, riffing off each other’s dialogue with great chemistry. A particular highlight was an interesting musical number performed by the men, which was elevated by the smart execution of the audio mixing and sound design.
John David Washington’s performance in this was a lot more of a slick-talking hustler versus his many other roles where he was more of the action star like in Tenet or The Creator. Seeing him outside of his most recent roles was refreshing and allowed him to expand his on-screen range. His ability to act opposite of kids felt so natural again too. When he was showing Skylar Aleece Smith’s Maretha how to play a more upbeat rhythm on the piano, it really felt like he was her uncle.
Ray Fisher’s Lymon may be his best role yet, as he has been widely known as the DCEU’s Cyborg in the DC Films, and most notably starred in Zach Snyder’s Rebel Moon films. Again, this role allowed him to use his acting chops to nail all of his comedic moments so well. Samuel L. Jackson, as the father figure to the Charles family, did not soak up too much of the screen, as Jackson is known to be very expressive in his characters. It was funny that he played the straight man in most comedy bits to break up the tension.
After seeing Danielle Deadwyler’s powerful performance in Till, I knew I was in for another great performance as Berniece in The Piano Lesson. She delivered a masterclass in acting, showcasing a wide range of emotions—from anger and fear to love and even possession. Her presence reverberated whenever she was on screen. Berniece embodied the strength and resilience of a widowed mother, and Deadwyler captured that perfectly, never backing down from a fight.
“Films like this remind me of the power of storytelling, capturing the narratives our uncles, aunts, and grandparents might share—but bringing them to the big screen.”
While The Piano Lesson had limited locations, the camera work and cinematography outside of the Charles family house were dynamic. From sweeping dolly shots showing a lineup of people to a first-person POV of a train moving down a foggy railroad, the shot selections were engaging and visually interesting.
The set design of the Charles home appeared to be crafted with great intention for the plot. Much of the ghost activity occurred upstairs, with the long hallway creating an eerie atmosphere, perfect for a ghostly figure moving down the corridor. The woodwork on the piano was also impressive. Having seen custom work on pianos before, this one felt monumental. Surprisingly, there was one major stunt in The Piano Lesson, and it was clear the actors were fully committed—it looked intense.
The Piano Lesson is one of the more captivating and spiritual historical fiction stories, hitting all the right beats to tell an important tale. While not based on a true story, it touches on themes many African-American/Black families have experienced or are still grappling with today. Films like this remind me of the power of storytelling, capturing the narratives our uncles, aunts, and grandparents might share—but bringing them to the big screen. Where some historical fiction films can drag out the drama, The Piano Lesson struck the right note.
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