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The house has the look of a skeleton.
He has come north with a truckful of watermelons.
As the action progresses, Sutters ghost makes itself known to Berniece, exerting hegemony of its own.
She believes in keeping the piano and honoring her ancestors.
Boy Willie is looking out toward the future.
By selling the piano and getting the land, he sees a way to reclaim something.
Washington brings it all forward in his performance mouth jutting ahead, eyes at the horizon.
Onscreen, inTenetorBlacKkKlansman, Washington tends to be better when he runs at a lower temperature.
Hes trying hard to define himself.
Each time she presses a finger down, it feels like a thought.
They sink into each exchange like theyre luxuriating in leather armchairs.
Brooks works that forcefield of quietude well, letting you into Bernieces world on her own terms.
Their flirtation, in the second art, feels as though theyre tentatively stepping into the sun.
This production operates well on its own terms but, perhaps more pressingly, brings others into view.
Seeing him across from Washington onstage has a spectral charge of its own.
How could this kid live up to him?
And its in the design of the prop piano, too, which by contrast is disarmingly intricate.
The Piano Lessonis at the Ethel Barrymore Theatre.
