Robert Israel
The sprawling cast — 30-plus players — under Michael Arden’s direction performs with verve; they deliver outstanding performances and have excellent singing chops.
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At its best, this script offers an opportunity for audiences to cast a backward glance at the first stirrings of dramatist Lynn Nottage’s prolific canon.
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Suffice it to say that this film version of “The Piano Lesson” does playwright August Wilson proud.
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Because this “play” relies on audience participation, Vinny DePonto selects inevitably befuddled men and women from the audience on which to demonstrate his mental prowess.
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“Modern dance is not a secret club. Yes, we are presenting masterpieces by a visionary 20th century artist, but we are communicating that through the greatest dancers today, and showing how that work continues to evolve.”
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This is a well-honed, mostly successful script about the difficulties of making human connections — a drama about seizing the day.
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The script is an experiment, a (sometimes) witty lecture on language. But it doesn’t work dramatically.
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Is it possible for an outstanding actress to achieve similar heights as a playwright? The answer is yes, but with reservations.
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“I believe folks coming to the theater will have a great time, they’ll learn about the Negro leagues and about a phenomenal woman.”
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“We ask them to interpret the music through their own experiences, so they are connecting to and performing what Mr. Ailey called ‘blood memories’ on stage.”
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Arts Commentary: Time to Step Off the “Carousel” of Denial