Photographs by CHARLIE CLIFT
Words by JANE CROWTHER

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Siblings John David and Malcolm Washington tell Hollywood Authentic how their parents Denzel and Pauletta raised them surrounded by art and why their new film, The Piano Lesson, became a family affair.

Director Malcolm Washington insists that he and his older brother, actor John David, didn’t fight as children. In fact, the opposite was true growing up with acting parents and as a pair of brothers with two sisters, Katia and Olivia. ‘I just feel like we did so much as kids. Any time I needed anything, I feel like my family are the people that I would go to. If I was moving, or needed help to take apart and rebuild my furniture, I would call them.’ Which is why when he decided to make his feature debut directing and co-writing an adaptation of Pulitzer prize-winning playwright August Wilson’s The Piano Lesson, he called on the Washington clan. Father, Denzel, has long protected Wilson’s work as designated custodian of his output – a series of 10 plays known as the ‘Pittsburgh Cycle’, including recent movie adaptations Fences and Ma Rainey’s Black Bottom – and has made it his mission is to see all the plays adapted for film with reverence. Washington Sr directed and starred in Fences on the big screen in 2016 and John David played The Piano Lesson’s Boy Willie (originated by Samuel L. Jackson in 1987 at the Yale Repertory Theatre) in a Broadway revival in 2022. The story of a brother and sister, Boy Willie and Berniece (Daniel Deadwyler), in 1936 Pittsburgh, The Piano Lesson explores systematic racism, the legacy of slavery, identity and generational trauma as the siblings argue over the fate of a piano once owned by their family’s slaver owner. Sharecropper Boy Willie wants to sell it to buy Mississippi land; Berniece wants it to remain in the family as a testament to their ancestors. It’s an intense, thought-provoking play that Malcolm has described as ‘sacred’. No pressure then…

‘The fact that it was high pressure made it even more reason to go to the people that you know,’ he smiles as the two brothers attend the London Film Festival. ‘And working with him,’ he points to John David sitting next to him, ‘I was such a fan of him that I wanted to do that anyway. He’s a great actor, you know?’ The brothers also had their dad onboard as exec producer (‘He’s an expert’), sister Katia as producer, plus sister Olivia (who has just finished an acclaimed run in the West End’s Slave Play) and mum Pauletta as cameos. Longtime family friend, Samuel L. Jackson, also joined the cast. To have that level of expertise in the material and trust in family was invaluable, he says. ‘It instils confidence in everybody. It’s like: we have the opportunity to make a film of great performances. Let’s live out that promise.’

The performances have been attracting awards attention as the film has played at festivals throughout the year and John David admits that getting a chance to interpret the role a second time after his Broadway stint was something of a gift. ‘That was the most intriguing part – the new lens that this story is going to be told through, which is Malcolm’s, to serve as a nexus between the OGs, the Wilsonians, and what the new generation of artists and storytellers have to say about unfortunately antiquated issues in the underbelly of America – which this story revolves around. But it’s also obviously the family dynamic and heirloom. What side are you on in the brother/sister argument? But all of those prospects and those opportunities to tell the story in a new way, to open up the play.’

The experience of digging into the themes of the play was enlightening and personal, Malcolm recalls. ‘It inspired a lot of conversation. When I met with Samuel L. Jackson for the first time to talk about doing the story, we talked very briefly about the story, and then it quickly turned into him showing me family photos of his grandparents, and where he’s from, and his people. We were always tied into that larger thing.’ And the idea of legacy is something that both brothers are aware of as children of feted actors, and part of a family of artists. ‘To me, I had this idea of like: this is what was passed down – it’s the ability to tell stories, and being able to do it professionally,’ John David nods. ‘The fact that we’re doing it together is something that is significant.’

Making this a Washington family project wasn’t initially the intention, explains Malcolm, who co-wrote the screenplay with Virgil Williams. ‘This whole project is just a snowball of something that started really small, really intimate and really personal. And then along the way you collect these other moments, and it all comes into focus. I definitely wouldn’t call working together an inevitability. But along the way, it became more and more important to tie all of our stories into it, so that we all had stakes in the game. We all had skin in the game.’ A former student of the American Film Institute who graduated at the top of his class, he dug into his academic approach in prepping for the film – visiting the Pittsburgh neighbourhood, the historic Hill District, where Wilson lived and was inspired. Malcolm ultimately planted an Easter egg in the film of Bella’s Market, where Wilson grew up, and discovered the playwright’s close relationship with his mother. That bond is something he also recognises: ‘The more I learned about August, the more I saw myself in his story and in his work.’ 

Denzel and both of his sons have talked about the importance of Pauletta Washington at the heart of their family and The Piano Lesson is dedicated to her; ‘for Mama’ appears on the end title card, nodding both to her role as Mama Ola and her impact on the director. She only discovered his tribute when she saw the film for the first time with the family. ‘It was wonderful. She wept,’ Malcolm remembers. ‘My mum used to take me to the theatre, and we watched so many movies together. She took me to see The Tree of Life when it came out. It was a movie that affected both of us so deeply. I remember sitting in the theatre when it ended, and we were both holding hands, and just crying together. It was the first time I remember doing that – you know, crying and being so deeply affected by a movie like that. So when I showed her my film – we saw it in a theatre, and we cried together. I just immediately thought of that moment of like, ‘Wow, now I’ve made this thing that affected you in the way that we were both affected.’ It made me even more empowered, and fall in love with the art of filmmaking even more.’

Denzel is an equally artistic force in the family, though he hasn’t ever sat down and given John David acting advice. ‘I guess it’s like Mr Miyagi-style, you know what I mean?’ he laughs. ‘You wash the car, and paint the fence, and then you apply it to the work later. Like, years later. I think he might have been preparing me my whole life for something. I put God into everything – every project. I feel like every character I take on, there’s something I’m learning about myself as well. He’s so protective of the [August Wilson] works. Also, Samuel L. Jackson. So getting the co-sign, and getting the encouragement from them, emboldened me to be my better self, and to be my best self.’

For the Tenet, BlacKkKlansman and The Creator lead, that acting truth is hard won, having fought against following in his dad’s footsteps by becoming a professional football player before injury made him reconsider the lure of telling stories. ‘I chose something else first. A lot like Boy Willie, I was conflicted. I had an internal warfare. I chose football, I chose pain, I chose broken ribs and hernias in the name of independence. I had this rebellious quest to be my own man. But, really, I was just working out a character, I think, because I wanted to do this my whole life. Inevitability – it’s a spectrum. But I am so thankful that I am doing it because it’s what I wanted to do the whole time. This project definitely helps me with this. I’m seeing the kind of actor and the kind of performer that I’m striving to be. And I needed this rite-of-passage text to do that.’

Malcolm’s artistic route wasn’t quite such warfare. ‘I think the conditions in which I grew up definitely inspired my path. I’m the youngest in my family. My siblings were always really into art and music and film. We just watched so many things growing up, and just got to engage in it. Both my parents had a strong consciousness to them, and were constantly putting us into spaces that we got to engage in – in art, in Black entertainment, the legacy of Black artists, and the legacy of Black greatness outside of art as well. Those things were always instilled in me, and I always had a strong feeling and confidence that if I set my mind to something, if I studied hard and worked hard, I could achieve whatever. As I got older, I looked in the mirror one day and I was like, ‘Oh, wait, I think I’m into telling stories’.’

For both brothers, making The Piano Lesson has been a way of proving something to themselves as well as their dad, who ‘there’s no question’ would not have let them take on this adaptation simply because they were his offspring. There are still seven more plays to be adapted, so the Washingtons may yet be brought artistically together again. That’s if Hollywood Authentic hasn’t instigated their first fight. When we ask who took the beautifully carved piano at the centre of the film home with them, Malcolm admits to on-set purloining. ‘We had an amazing team working on the piano. The panels from the piano actually are in my house right now. They’re in LA.’ John David looks at him surprised. ‘I didn’t even know! Didn’t get a choice!’ he exclaims. He shakes his head in mock outrage. ‘Wow…’