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.
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.
Suffice it to say that this film version of “The Piano Lesson” does playwright August Wilson proud.
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.
“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.”
This is a well-honed, mostly successful script about the difficulties of making human connections — a drama about seizing the day.
The script is an experiment, a (sometimes) witty lecture on language. But it doesn’t work dramatically.
Is it possible for an outstanding actress to achieve similar heights as a playwright? The answer is yes, but with reservations.
“I believe folks coming to the theater will have a great time, they’ll learn about the Negro leagues and about a phenomenal woman.”
“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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