Wilson creates a play that is purely representational of the era. Characters become more authentic as they are believable. The audience sympathizes with them. When an audience superimposes the characters, the theme is not only heard, but felt within each individual. As I sat in my seat, I felt the anguish between the siblings as they communicated their concerns about the piano. For example, Bernice describes the piano as polished by the blood, sweat and tears of her ancestors. The anguish of slavery and oppression swells through her words. When Boy Willie persists in taking the piano, he also communicates his determination to succeed on the same land that bound his ancestors. This is very powerful language because it renders more than just denotation. It communicates the way the characters relate themselves to the world around them (past, present and future.) The language itself is very moving and purposeful.At the end of the play, Wilson leaves a few loose ends. Does Bernice marry Avery? Does she encourage Maretha to be more receptive of her heritage? Does Boy Willie find another avenue to pursue success? Does Lymon find his way in Pittsburgh, or return to Mississippi? Does Whining Boy ever learn to settle down? Is he really Lymon’s father? These questions are intentionally unanswered to allow the audience to draw their own conclusions about the situation. All that is known is that the siblings have come together for now because they must. They have no other alternative but to combine resources in order to move out of the divisiveness that slavery causes. They realize they are stronger and more enriched by pulling together to support each other. This microcosm is important as it is beautifully presented and given to the patron to ponder.I struggle to categorize this play. Confinement seems inappropriate as I feel it is universal: comedic, dramatic, spiritual, realistic, transcendent. It does not have one flaw of redundancy o...
