Samuel L. Jackson & John David Washington Discuss ‘The Piano Lesson’s’ Impact

Despite Samuel L. Jackson having originally played the role of Boy Willie in the first production of August Wilson’s “The Piano Lesson” at the Yale Repertory Theatre in 1987, his wife LaTanya Richardson Jackson strictly forbade him from discussing the character with John David Washington during the 2022 Broadway revival she directed. “So the whole time we did the play, I had no Boy Willie conversations with him. I didn’t tell him what to do,” Jackson shared in a phone interview with IndieWire. “He had to find certain things on his own because Boy Willie is a complicated character, and you have to have a certain amount of comfortability in your understanding of him to be able to get those things out of your mouth that he’s saying.”

In their talks about the character, central to the new Netflix adaptation of Wilson’s work about a Black family from Mississippi debating over an heirloom representing their legacy, both Jackson and Washington acknowledged how transformative the role had been for them. “I’ll forever be grateful for August Wilson and this play and this movie,” Washington expressed during a Zoom call. “It helped me at least see the possibilities of the actor I want to be… This is something I’ve been wanting to do my whole life, and for the first time I’m actually seeing the actor I could maybe become one day. And I have August Wilson to thank for that.”

“The Piano Lesson,” the fourth play in Wilson’s “The Pittsburgh Cycle,” begins with Washington as Boy Willie traveling from the South to Pittsburgh to visit his uncle Doaker (played by Jackson) and his sister Berniece (Danielle Deadwyler), intending to sell the family piano. This piano, which bears portraits of their ancestors, symbolizes their legacy. Boy Willie hopes to use the money to buy the farm their family used to work as sharecroppers. Berniece staunchly opposes selling the piano, despite not playing it, due to the sacrifices their father made to keep it in the family.

Boy Willie is a demanding role, requiring significant energy to convincingly argue his perspective on building the family legacy. “The Piano Lesson broke me,” Jackson admitted recounting his first time portraying the character. Despite his exceptional performance, Jackson was ultimately replaced by Charles S. Dutton, Wilson’s initial choice for the role. Becoming an understudy on Broadway and rarely getting to perform the role again was a low point for Jackson, leading him to rehab. Jackson said, “All of the sudden, I was a clear-headed actor. I hadn’t done anything without a substance in my body until ‘Jungle Fever,’ which was the first thing I did when I got out of rehab.”

Washington’s experience with Boy Willie was distinct but equally impactful. Though they didn’t discuss the character directly, Washington was eager to learn from both Jackson and their co-star Michael Potts, who plays Wining Boy. “It was extremely beneficial for me to be inquisitive, to be curious about what their approach is to the work in general,” Washington said.

As a newcomer to theater, Washington recalled an instance while rehearsing the Broadway revival where he attempted a unique move during a scene, only for Jackson to burst out laughing. Jackson’s advice: “Boy, just turn and talk.” This spontaneous and flexible direction carried over into the film adaptation, directed by Malcolm Washington, John David’s brother. “You have to set things on stage because people have got to set lights and you’ve got to have blocking,” Jackson explained. “With films, you got a camera that’s on wheels or a camera that’s on somebody’s shoulder, they can follow you around while you do shit.”

Working with the Washington brothers led to occasional moments of curiosity and flexibility. Jackson humorously mentioned, “I always have a thing about whispering directors when they go over and whisper something to the other actor and all of a sudden you’re sitting there, ‘What the fuck are they talking about?’ So you have to be flexible in the cinematic sense.”

Washington added, “The film is sort of enjoining you to watch them react to something as opposed to in the play, you can choose whatever you want to look at.” This perspective allowed them to try new approaches knowing that filming grants the opportunity for multiple takes, unlike the linear progression of a stage play.

Excitement is palpable among the actors regarding how their film adaptation creates new ways for the audience to engage with the story. “You’ll see facial expressions that you never saw before or hear vocal inflections because the face looks a certain way that you weren’t able to see because the words were doing all the work,” said Jackson. “Now you have body language that can be examined in another way.”

Both actors pointed to Deadwyler’s performance as Berniece in the film as an example of how the story can be redefined by a cinematic lens. Washington explained, “​​You’re going to hear a monologue, a beautiful monologue written by August Wilson, but the closeup is going to be on Danielle.”

Washington emphasized the importance of honoring Wilson’s legacy while inviting new audiences. “This film could be the nexus of the new generation to feel like they’re invited. It’s a new interpretation of what we see in a very old problem through this film.”

Jackson is curious about how Wilson’s longtime fans will react to “The Piano Lesson” film. “It’d be interesting to hear what they have to say about it when they see it. It is not specifically the play.” Returning to the role of Doaker symbolizes Jackson’s growth as an actor. He now plays the family anchor, having evolved from his tumultuous past. “Doaker is an anchor and he’s an inspiration. So when things happen, everybody comes to Doaker. He’s that guy.”

“The Piano Lesson” opens in select theaters on Friday, November 8 before streaming on Netflix on November 22.

Source: IndieWire