stop. reset. *

I wish playwright/director Regina Taylor had taken the advice of her title. As it is, her play makes a strong case for a playwright not directing her own work. Another pair of eyes and ears might have turned this shapeless mess into something more coherent or, better still, persuaded her that it was not ready for the stage. It starts out as an office drama about which of four cardboard stereotypes, an Asian woman (Michi Barall), an older black woman (Latanya Richardson Jackson), a white man (Donald Sage Mackay) and a younger black man (Teagle F. Bougere) will be laid off by their boss (Carl Lumbly) as the black publishing house he heads seems doomed for failure by the digital age. Then it veers off into science fiction when the janitor (Ismael Cruz Cordova) turns out to be an avatar from the future. Got that? I am always suspicious when a play longer than 90 minutes is performed without intermission, suggesting the fear that the audience might not return after intermission. In this case, the fear was well-founded. Neil Patel's set is fine, but Shawn Sagady's projections of quotations, definitions and what-not were a distraction. Maybe that was the intent. I'm not sure what statement costume designer Karen Perry was making by giving one the characters shoes with individual toes. Finally, I think is was presumptuous for Taylor to give herself first billing in the "Who's Who in the Cast." While iconic playwrights like August Wilson and Horton Foote might deserve that honor, Taylor is clearly not in their league. Running time: 1 hour, 40 minutes; no intermission.

The Piano Lesson *****

(Please click on the title to see the complete review.)
This lively revival of August Wilson's play about a black family in Pittsburgh in 1936 is one of the highlights of the season. This Signature Theatre production, ably directed by Ruben Santiago-Hudson, features an ensemble cast that is close to perfection. Roslyn Ruff's stern Berniece is a worthy opponent for Brandon J. Dirden's feisty Boy Willie, as the two siblings fight over the piano on which their grandfather had carved the family history. James A. Williams (Doaker), Jason Dirden (Lymon), Chuck Cooper (Wining Boy) and Eric Lenox Abrams (Avery) bring their distinctive characters vividly to life. Alexis Holt (Maretha) and Mandi Masden (Grace) are fine in smaller roles. Michael Carnahan's set is superb, as are Karen Perry's costumes and Rui Rita's lighting. I was surprised how much humor there is and how central a role music plays. From an a capella work song to boogie woogie to blues, the music is beautifully performed and seamlessly integrated into the action. The pace is leisurely, but gratifyingly so. All in all, a rare treat. Running time: 2 hours, 55 minutes including intermission.