On January 7th, August Wilson receives a star on the Hollywood Walk of Fame – an appropriate honor for a playwright who has won both the Pulitzer Prize and Tony Award, and who is widely acclaimed as one of America’s most esteemed and influential storytellers over the past half century.
However, it’s quite intriguing that the backdrop was Hollywood – a world known for glamour and cinema – for the life of Wilson, who, in reality, wasn’t particularly fond of movies.
Constanza Romero, Wilson’s wife and administrator of his estate, recalls that we’d often enjoy curling up on our sofa to watch suspenseful movies, with Meryl Streep being a particular favorite of Wilson’s. He had a strong affinity for films produced by Black filmmakers earlier in their careers, as well as productions featuring music and Black talent. However, it’s accurate to say that Wilson wasn’t deeply immersed in the film industry.”
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“Constanza Romero, Wilson’s wife and estate manager, reminisces about our habit of relaxing on the couch to watch thrillers, with Meryl Streep being a favorite of Wilson’s. He was fond of movies made by Black filmmakers early in their careers, and those that showcased music and Black talent. Yet, it’s worth noting that Wilson wasn’t particularly involved in the film world.
Between 1980 and 1991, Wilson saw just two movies, according to a 2001 article in the New Yorker.
Nevertheless, the impact of August Wilson’s monumental work, “The American Century Cycle,” transcends genre boundaries. This groundbreaking collection of ten plays, each set in a distinct decade of the 20th century and primarily in Pittsburgh’s Hill District, offers profound portrayals of Black lives with intricacy, respect, and a hint of magical realism. From his 1984 Broadway debut, “Ma Rainey’s Black Bottom,” through to his richly textured works like “Fences,” “The Piano Lesson,” and “Seven Guitars,” Wilson’s body of work paved new paths and cast the spotlight on stage talent who would later become some of Hollywood’s most prominent film and television stars.
As a film enthusiast, I’m thrilled to see an endeavor underway to bring all ten plays of the “American Century Cycle” to the big screen. This ambitious project, which includes the recently released Netflix adaptation of “The Piano Lesson,” has the potential to significantly enhance Wilson’s cinematic legacy, deepening our understanding and appreciation of his work.
Viola Davis, an EGOT who won both a Tony Award and an Oscar for playing the role of Bono in “Fences,” says August Wilson feels like home to her. She explains that Wilson skillfully and powerfully combines characters into real human beings and demands our focus. It’s hard not to be captivated, as they are raw, genuine, heartbreaking, and humorous. They seem so alive. Wilson is our storyteller, our chronicler of history. He left behind a legacy of true love.
As a devoted admirer of August Wilson’s works, I’ve been fortunate enough to witness some truly outstanding performances from a group of illustrious screen actors who undeniably elevated their careers with their roles in Wilson’s plays. Among them is the remarkable Viola Davis, whose Broadway debut in “Seven Guitars” in 1996 and Tony-winning performance in “King Hedley II” in 2001 have left indelible marks on theater history.
Samuel L. Jackson, now a household name, had the privilege of understudying the roles of Boy Willie and Lyman in the 1990 Broadway premiere of “The Piano Lesson.” Over three decades later, he graced both the Broadway stage once more in the 2022 revival and the silver screen in the current film adaptation.
Notably, Angela Bassett, Laurence Fishburne, and Charles S. Dutton also experienced early career success on Wilson’s stages, paving the way for a legacy of captivating performances that continue to resonate with audiences today.
Following Denzel Washington’s Tony-award-winning performance alongside Davis in “Fences” on Broadway, a film adaptation was produced, which he both directed and starred in. This experience inspired him to commit to turning all 10 of August Wilson’s plays into films.
The revival of “The Piano Lesson” on Broadway and its upcoming film adaptation are a family project for the Washington family: John David Washington played Boy Willie in both versions, while his brother Malcolm directed the movie. Other cast members include Jackson, Danielle Deadwyler, Ray Fisher, and Corey Hawkins.
Malcolm Washington praises Wilson’s work, stating that it represents art at its best, conveying and mirroring a community and its people. He finds the characters to be exceptionally well-crafted, full of life, complexity, and richness. Many of these characters seem to carry internal contradictions, which Malcolm believes makes them perfect for film adaptations. This allows for an in-depth exploration of the inner lives of each character and the opportunity to bring out these complexities using cinematic techniques.
The play “The Piano Lesson,” set in the 1930s, revolves around a sibling dispute over an old piano with a haunted history dating back to slavery times. This work by Wilson is, in many aspects, representative of his overall style. In this 1990 production, he paints a vivid picture of Black everyday life using unique and compelling voices. These voices echo both the historical struggles faced by the Black community and the universal themes of human existence. Throughout the play, spirituality and supernatural elements are skillfully interwoven, carrying symbolic and emotional significance.
Over the past while, there have been three movies based on Wilson’s plays, starting with “Fences” and followed by “Ma Rainey’s Black Bottom” in 2020. However, this isn’t the first time Wilson’s work has encountered Hollywood. In fact, a studio had already optioned “Fences” way back in the late 1980s. At that time, Wilson demanded a director of African descent for the project, but unfortunately, the film was never produced.
That’s just one incident in a life of championing Black voices and Black stories.
1945 saw the birth of Wilson in Pittsburgh. After being falsely accused of plagiarism by a teacher, he abandoned high school education. However, he pursued his own independent learning at the local library instead. Additionally, he frequented the social spots of the Hill District, the predominantly African-American, working-class community that would serve as the backdrop for many of his plays throughout the 20th century.
In my journey, I found myself growing more attached to the everyday melodies that echoed the depths of people’s souls. Looking back, Davis was profoundly touched by the affection Wilson displayed towards her parents. “To the world, they might have been a pair of Black individuals with modest education,” she reminisces, “but in my eyes, they were pure gold!
As a passionate cinephile reminiscing my past, I found myself striving to carve a niche as a poet during the vibrant ’60s and the early ’70s. However, it wasn’t until my relocation to St. Paul that I truly immersed myself in playwriting. The genesis of what would later be known as the “American Century Cycle” began with the creation of “Jitney,” a play centering around the colorful characters inhabiting an unlicensed taxi service, which was brought to life professionally on stages in Pittsburgh in 1982.
As a passionate cinema enthusiast, I can’t help but share my excitement about a playwright whose fame skyrocketed following the acceptance of his masterpiece, “Ma Rainey’s Black Bottom,” at the esteemed Eugene O’Neill Playwrights Conference. This captivating script revolved around a 1920s blues singer and her band, and it opened doors for me that I never thought possible. It was during this conference where I crossed paths with the visionary Black director Lloyd Richards, who brought “Ma Rainey” to life on Broadway. From there, he went on to direct four more of my plays, each one a testament to our shared artistic journey and the impact we were able to make together.
Following the initial plays of the “American Century Cycle,” more performances ensued, typically starting with pre-Broadway productions across various regions before making their Broadway debut. The final installment of this cycle, “Radio Golf” set in the 1990s, premiered on Broadway in 2007. Throughout this journey, August Wilson gained a reputation as an impassioned supporter for Black theater, engaging in print debates with Robert Brustein and participating in a 1997 debate in Manhattan about it.
Throughout my lifelong journey as a cinephile and playwright, I’ve been incredibly fortunate to receive an impressive collection of accolades. Among these are two Pulitzer Prizes, one for “Fences” in 1987 and another for “The Piano Lesson” in 1990. I also took home a Tony Award for “Fences”, as well as seven awards from the New York Drama Critics Circle. Just a few years after my passing due to liver cancer in 2005, Broadway’s Virginia Theatre was rechristened the August Wilson Theatre – a historic first as it became the first Broadway venue named for a Black theatrical visionary.
Following “The Piano Lesson,” more film adaptations from the “American Century Cycle” are on the horizon, leading Wilson’s enthusiasts to anticipate that these cinematic explorations will further enrich and solidify his lasting impact on screen.
Romero expresses optimism, stating, ‘I believe the quality of these films indicates a broader appreciation for my work, one that could endure the test of time.’
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2025-01-06 21:17