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Author: admin | Category: Yamaha Pianos | 02.02.2014

Due to spam, all blog comments are moderated by admin.If you post links to term paper mills, your comment will be rejected or deleted. About Midnight Assassin:On a moonlit night in December 1900, a prosperous Iowa farmer was murdered in his bed--killed by two blows of an ax to his head. The Piano Lesson is a true drama; any humor in it comes from the superb acting, not the script.
Boy Willie Charles, an ambitious young man from Mississippi, and his friend Lymon have come up to Pittsburgh after a three-year stint in Parchman Prison Farm with a truckload of watermelons to sell.
As the action rises and the tension deepens between Berniece and Boy Willie, the history of the piano is slowly revealed, leading to revelations about the family’s current circumstances. Set in 1936, The Piano Lesson takes place in Doaker Charles’s rustic Pittsburgh home. The action in The Piano Lesson is energetic and frequently rowdy, so the characters cannot be timid.
The Piano Lesson is a true drama; the humor in it comes from the superb acting, not the script. Thought provoking, expertly crafted, elegantly appointed, full of drama and rich with humor describes THE PIANO LESSON at The Players Club of Swarthmore. THE PIANO LESSON supplies surprises, treasures to be discovered, and detailed, nuanced performances. A Moving Experience: Boy Willie (Kenny Leon) and Lymon (Erik LaRay Harvey) get a supernatural warning when they try to take the family piano out of the house.
Director Kenny Leon, in town from Atlanta's Alliance Theatre Company to helm the production, not only capably fills Griffin's role as protagonist Boy Willie, he positively shines, imbuing the character with contagious charm and energy--all that and more, due to the haste of his takeover, with a script in his hand. An ornate piano, carved with the likenesses of slave ancestors, sparks conflict in the African American Charles family, between brother and sister Boy Willie (Leon) and Berniece (Rosalyn Coleman). Reminiscent of similar themes in Toni Morrison's Beloved, the crushingly powerful weight of slavery on the spirit still looms, especially over Berniece, so much so that it ripples into the supernatural, with apparitions of Old Man Sutter paying frequent visits to her home--and his old piano. Seemingly at odds with the otherworldliness of Sutter's haunting, the production is hyperreal: Marjorie Bradley Kellogg's impressively detailed set looks as if she had airlifted the living room and kitchen of a 1930s Northeastern home right to the Rep's stage. The Piano Lesson plays Tuesday-Friday at 8pm, Saturday at 3pm and 8pm, and Sunday at 2pm and 7pm through April 22 at the San José Repertory Theatre, 101 Paseo de San Antonio, San Jose. Ronald Conner (Boy Willie), Jon Hudson Odom (Lymon), Jonathan Peck (Doaker), and Harold Surratt (Wining Boy). Scenic Designer Daniel Ettinger captures the essence of the mid 1930s in Pittsburgh in the simplistic construct of Doaker’s house. Supernatural elements are a key component to the functionality of Wilson’s work and Lighting Designer Xavier Pierce alongside Sound Designer Elisheba Ittoop create very striking moments of super natural phenomenon.
With each character carrying their own version of family history, a great deal of commotion is easily stirred up when differing opinions surface. Dukes gives a stunning performance as the female protagonist, for it is as much Berniece’s story as it is Boy Willie’s. Doaker (Jonathan Peck) plays the role of the eyes, always watching and keeping silent on the matter unless he absolutely has to speak up. Wining Boy (Harold Surratt) in a sense become comic relief right alongside Lymon (Jon Hudson Odom). Thanks to Jude’s rigorous pacing, the three hour production moves along to completion without notice of time passing. The Piano Lesson plays through June 1, 2014 in the Mulitz-Gudelsky Theatre Lab at Olney Theatre Center—2001 Olney-Sandy Spring Road, in Olney, MD. Four days later, the victim's wife, Margaret Hossack, was arrested at her husband's funeral and charged with the crime.The vicious assault stunned and divided the close-knit rural community. The conflict is no longer about selling an heirloom, but rather about the meaning of heritage, and to what extent it should rule the lives of the family.
The house’s warm colors and lighting, along with the detailed set dressings of pictures, dishes, and a fully stocked pantry, communicate the feeling of home comfort to the audience.
The cast works together almost flawlessly to produce brilliant, absorbing ensemble work, even in the midst of the production’s tensest moments.
Wilson in the role of Doaker’s brother Wining Boy who really captures the heart of the audience.
As the play winds up to its frightening, supernatural climax, we find ourselves hoping that Boy Willie, Lymon, Berniece, Doaker, all manage to find a way out of their struggle and reconcile their family history with their own relationships. Wallace as Doaker, Kash Goins as Boy Willie and Rodd Deon as Lymon, in THE PIANO LESSON - running now through December 13th at The Players Club of Swarthmore Theater.
Wallace plays Doaker, the leveling force and man of the household, who is uncle to feuding siblings Berniece (Erin Stewart) and Boy Willie (Kash Goins). And as for the lights--well, apparently they had rolling blackouts in 1936 Pittsburgh, too. Taken back at the cost of their father's life from Old Man Sutter, the white man who owned their ancestors, the piano represents the literal blood, sweat and tears of the Charles family, which, Berniece contends, makes the piano a priceless heirloom that should be kept.
Also, director Leon has seen to it that no action is "staged" or mimed: for example, Doaker really cooks up French toast and Berniece straightens her daughter's hair.
But at what point does the sentimental value of a family heirloom become diminished enough to sell it for money? The furnishings provide the basic comforts and necessities without being overly elaborate or terribly impoverished.
Ittoop and Pierce’s designs are subtle but recognizable; a harsh blue glue accompanied by badly tuned piano notes, just enough to infuse the atmosphere with a presence without delving into the notion of spectacle. The various family histories and tales are retold by the characters in a fashion that engages the audience without losing them in the insurmountable amount of important facts being thrown at them.


The thing that drives this production is the tension that forms so easily between characters. Delivering fury like a packed pistol, her moments of rage swell from deep within her, but in clipped bursts. Initially appearing as little more than a clever, albeit flippant and arrogant, schemer, Conner’s approach to the character shifts drastically as the production progresses.
Peck has a way with Wilson’s dialogue, turning long heavy sections of dialogue that would otherwise lose the audience’s attention into smooth rambling stories that flow along like a babbling brook on a lazy Sunday afternoon in the middle of July. Characters as different as night and day in their comic portrayals, each serves a surefire purpose to the production, delivering relief to the otherwise heavy nature of the plot. One for the books, The Piano Lesson is Olney Theatre Center’s first production of an August Wilson play in the 76 years they have been in existence, and it’s an exceptional experience not to be missed. She graduated with her BFA in acting from the University of Maryland Baltimore County and spent two years studying abroad in Sydney, Australia at the University of New South Wales.
The accused woman claimed to be innocent, but stories of domestic troubles and abuse provided prosecutors with a motive for the crime. But it soon becomes apparent that Boy Willie isn’t interested in selling just watermelons. However, the presence of Sutter’s ghost, never seen by the audience, adds a definite level of uneasiness.
Ronald Conner and Brian Weddington, as Boy Willie and Lymon, respectively, form an excellent physical duo. While his character does not directly affect the plot, he constantly relieves the tension with his humor or thoughtfulness. Living in the home of the Charles family for this short period of time leaves the audience not only with a love of this family, but also with a greater appreciation for the weight of a family’s heritage. Set in an apartment in Pittsburgh, Pennsylvania in 1932, THE PIANO LESSON is a slice-of-life look at family dynamics, family history, loss, fear, superstition, friendship, love, financial frustration, and racial tension. However, if sold, the valuable antique piano could offer a chance for Boy Willie to raise money to buy the property of the now-deceased Sutter back down South, thereby reclaiming the land that generations of Charleses had worked under enslavement.
She won't lay a finger on the piano, because of the grief and loss it symbolizes, yet Coleman shows us the character's unerring strength as much as her fear.
But the effect of such minute realism helps drive home the implications of the enduring devastation wrought by slavery, bringing it into the "real world," in part the audience's world. When ghosts of the past, both figuratively and literally, take to haunting a family, decisions must be made. Ettinger’s attention to detail is sharply honed, the scuffed tile floor of the kitchen flushed against the faded wooden boards of the sitting room with no demarcation line between them. While the presence of ghosts is important it is not the focus of the show and both Pierce and Ittoop manage to balance their effects accordingly. Jude’s cast articulates the dialect of the time period, making distinctive differences between the characters whose roots are more present in the south and those that have taken permanent residence in the north.
Berniece (Jessica Frances Dukes) brings her own points of tension with each individual, even her own daughter, Maretha (Nicole Wildy).
It isn’t until later in the performance that the full potential of Dukes’ emotional depth is actualized, during her intense speech about the piano. Following the character’s limited arch of growth, Conner manages to infuse genuine repressed emotional backlash into his character and the vocal confrontations with Dukes become the most gripping and intense moments in the performance. His facial expressions are where most of the emotional connection in his character derives from; animated moments like calling Boy Willie out on his shenanigans making for some of the more humorous moments in the play. Her time spent in Sydney taught her a lot about the performing arts, from Improv Comedy to performance art drama done completely in the dark.
Neighbors and family members were reluctant to talk about what they knew concerning the couple's troubled marriage.MIDNIGHT ASSASSIN takes us back to the murder, the investigation, and the trials of Margaret Hossack.
He tells Doaker that Sutter, the son of the family who used to own the Charles family as slaves, mysteriously fell down a well. He asserts himself by making the set come alive, dimming the lights and spontaneously opening doors and drawers. Their mutual energy and frequent roughhousing keep any scene they’re in from dragging. As a washed-up recording star, alcoholic, and wandering piano man, Wining Boy is transformed into a loveable trickster and fun-loving boy by Wilson’s hands.
Moving through his home and kitchen portraying all of the comfort one exhibits in a home space, Wallace is expert, enjoyable and entertaining. Timelessness makes this story and these relationships as important today as when it was written over twenty years ago. The supporting cast offers up equally nuanced, natural performances, with Thomas Jefferson Byrd, in particular, giving a deceptively low-key portrayal of Boy Willie and Berniece's uncle, Doaker. This production does not shrink from exploring that darkness, nor does it falter in its portrayals of the endless courage needed to fight against it. There is a sense belonging crafted into the set; a family lives in the house that has been built. Pierce provides impressive lighting for the interior of the house, particularly during late night scenes when a single ray of a street light or the moon is all that lights the sitting room.
An overall sensationally acted show, Jude’s approach to the work does Wilson’s work a great deal of authentic emotional justice.
These palpable tensions motivate the stories of Wilson’s work in a forward progression, building until they erupt like emotional volcanoes, changing the course of the play’s plot. Balancing these cataclysmically unstable emotions against her practical side, Dukes creates a fascinating character of Berniece, particularly as the end of the performance draws near.


His casual ease in the character’s skin makes the moments where Boy Willie makes jokes and cracks wise that much more entertaining. Odom brings a marvelous simplicity to the character which makes him engaging; his realistically stupid approach to Lymon making him believable. The book introduces us to Susan Glaspell, a young journalist who reported the story for the Des Moines Daily News and fifteen years later transformed the events into the classic one-act play, "Trifles", and the acclaimed short story, "A Jury of Her Peers."Patricia L. Afterwards, he gets us moving with blues interludes played on the historic piano that punctuates both the touching and humorous moments of the play, elevating them to pure poetry. Each actor brings an abundance of talent, clear intentions, truth, and passion to the play. Withering looks, bold speeches, and matriarchal deportment all make Stewart’s Berniece a woman of strength, dedication, integrity, hard work, and superstition. In 1998 Ginger founded OFF Book Productions as director, theater educator, and producer of her own original plays. As the fourth play in Wilson’s “Century Cycle” series, the story follows an African-American family as they attempt to place history in the past, the result of which starts a fiery feud over selling a precious family treasure.
The second story of the house is effective brilliance on Ettinger’s behalf as it makes scenes that occur later in the performance that much more intense. The frenetic energy that Conner possesses makes Boy Willie a much more engaging character than he appears in print; constantly moving, constantly talking, constantly spinning an angle. The pair may have few interactions between them, as Surratt’s character spends most of his time with Doaker and Odom’s character is often engaged with Boy Willie, but when they are together—particularly during the ‘suit exchange’ scene—they make quite the duo of laughs.
When she’s not working, if she’s not at the theatre, you can usually find her reading a book, working on ideas for her own books, or just relaxing and taking in the sights and sounds of her Baltimore hometown. Bryan and Thomas Wolf researched the Hossack case for almost a decade, combing through the legal records, newspaper accounts, government documents, and unpublished memoirs. Smith brings a stoic professionalism to the character of Doaker, making him reasonable and reserved, a straight-faced counterpoint to Boy Willie’s boyish antics.
While there is never an actual piano lesson, there are many lessons taught, and some learned while siblings battle over the sentiment verses material worth of a family heirloom piano.
Racial tension, and racial divide, along with family tension and family divide and the multitude of relationships and occurrences that shape it all are at the heart of the play.
Ginger’s theater education work extends to teen and adult coaching, headshot photography, and youth programs at Princeton University, Bryn Mawr College, Norristown's Centre Theater, Temple University and Philadelphia Arts Education Partnership. Despite its length and heavy exposition, the drama is gripping and brings a stunning message to the audience.
The perfect balance to an otherwise incredibly intense drama; Odom and Surratt find the fun in dysfunctional families. She loves to travel, exploring new venues for performing arts and other leisurely activities. The result is a vivid portrait of life in rural America at the turn-of-the century and a chilling step-by-step account of the crime and its aftermath. Things get even more complicated when Berniece encounters the ghost of Sutter, who’s looking for Boy Willie for unknown reasons.
Though Wilson wrote about the early 20th Century during the late 20th Century he could be talking about today, right now, the early 21st Century. Ginger recently appeared in and directed SHRINK RAP, an aids awareness play, directed LIFE WITH MOTHER SUPERIOR with MN Players, and co-directed THE WEEK BETWEEN THE HOLIDAYS, a Philly Fringe original musical.
Directed by Jamil Jude, this evocative production is an emotional gift to anyone with a family. Writing for the DCMetroTheaterArts as a Senior Writer gives her a chance to pursue her passion of the theatre and will broaden her horizons in the writer’s field.
Goins works the room with his charismatic, charming, conniving, calculating, cash-strapped character.
Favorite roles include Golde in FIDDLER ON THE ROOF, Mabel in THE PAJAMA GAME, Berthe in PIPPIN, Ruth in PIRATES OF PENZANCE, Mrs. The single-mindedness of his character could easily slip away from an actor, but Goins keeps it real, infusing Boy Willie with so much humanity that there is never a false word, action, or reaction. It is not always easy to agree with Boy Willie, but it is simple to embrace and relish the performance of Goins. Rodd Deon is Lymon, an innocent bystander on the family front, who is involved with Boy Willie in business matters. Deon makes sure to give the gift of a relaxed and comfortable performance, with the edginess to help it be understood that he knows the back story of Lymon.
Lymon is a fully fleshed out character and Deon is a gifted actor who creates many dimensions and insightful depth. Tim Golden delivers Wining Boy as a singing, piano playing, self-aggrandizer with a bent for a good con, a strong drink, and a game of cards.
Golden sings well and during one particularly mesmerizing scene, joins all of the men to create a musical happening.
Jones is the youngest member of the family and quietly offers a little girl who is respectful and sweet.



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