The lauded work of August Wilson has been adapted for the big screen yet again, this time in The Piano Lesson. In 2021, Ma Rainey’s Last Bottom won two Oscars for Best Makeup & Hairstyling and Best Costume Design. As award season embarks upon us yet again, it’s no surprise that yet another Wilson work has stellar craftsmanship all around. Offscreen Central had the opportunity to chat with Andrea Mona Bowman, the hair department head of The Piano Lesson, to hear all about the historical research that went into making this story feel authentic.

Matt Minton: How are you doing? I was at TIFF when the film had its U.S. premiere and I’m really excited to chat with you today. Congratulations on all of the success with its film festival run.
Andrea Mona Bowman: Hi, I’m great. Thank you.

Matt Minton: I know that both you and Para Malden worked together on the musical adaptation of The Color Purple and with you both as department heads on The Piano Lesson, how has your collaboration evolved?
Andrea Mona Bowman: Our collaboration has evolved in a great way. I have watched and admired Para’s work in makeup for some years now. I met her in Atlanta on the film Night School with Kevin Hart and Tiffany Haddish in 2018. We were both key artists of the hair and makeup departments.  Working with her on other projects over the years and seeing her growth in skills and leadership was a big reason why I was excited and happy to have her as makeup department head alongside me as the department head for hair on The Piano Lesson.

Matt Minton: I know you also previously worked on Fences, another critically acclaimed August Wilson adaptation. For you, what was it like returning to his words?
Andrea Mona Bowman: Yes, I did work on Fences. For me returning to his words was an honor to be a part of. August Wilson is one of the great playwrights. To be a part of a group of artists and crew tasked with bringing his words from paper to the screen was priceless. 

Matt Minton: That’s so beautifully said. Let’s dig into The Piano Lesson now. Anytime you’re making a period piece, I’m sure there are a lot of considerations that come into play with what people associate with the time period. With this being set in 1930s Pittsburgh, how closely did you reference past pictures and images for hairstyling?
Andrea Mona Bowman: Yes. It is a lot of consideration of things. I am very intense with the authenticity of each character’s look. When doing research, I always go to the script to gain knowledge of, who, what, when, and where. Since the film is based in Pittsburgh in 1936, I immediately started googling photos of Pittsburgh residents of that time and even photographers. The director, Malcolm Washington, found a photographer that did a collection of African American people in Pittsburgh, and I took those real photos and brought them to life on screen. It’s a necessity to use real people if the time period has photos, as well as to know and use the correct products and styling techniques to perform to make the most authentic look of each character and background actor. This time period had great research photos we could use to make the time period come to life.

Matt Minton: All of that hard work and research really shows on screen. You know, I was watching back an interview you did on the red carpet at TIFF talking about authenticity with Black hairstyles. You were also previously Oscar shortlisted for Best Hair and Makeup for your work on Emancipation with Will Smith. For you, what does it mean to authentically portray Black hairstyles?
Andrea Mona Bowman: For me, to authentically portray African American hairstyles means to make sure I have the correct styling techniques, period appropriate products, and a zeal to honor the hair looks with the correct symmetry and shapes of a hairstyle. Hair is our crown in our community. It goes back to ancient times and was passed down through our ancestors. So wherever I create, I am very intentional about giving natural hair the respect that is deserved. I will always pay homage to my culture and my people.

Matt Minton: That’s wonderful to hear. Knowing that this film also brings in more supernatural/horror elements by the end with the family piano, were there any practical considerations you had to think about when constructing the wigs/hairstyles/looks?
Andrea Mona Bowman: For me, having knowledge of that time period, which was 1911, when the first initial blood was placed into the piano through woodcutting.  I was able to research and gain looks that could be constructed to show the authentic look of Black people during that time period. I had to hand lay hair to get that true natural feel of flowing natural curls and cold texture. But it was all in the research. I always make it a goal for hair to have life and a real natural flow.

Matt Minton: At Offscreen Central, we really value the work of below-the-line artisans because I think oftentimes, people overlook or don’t consider all of the passion that goes into these roles. What do you wish people knew about the work you do?
Andrea Mona Bowman: Thank you for valuing us Below-the-Line artists! I would love for people to know that hair can tell a story all by itself. It can let you know a time period, how a person is feeling, one’s financial status, etc. So it’s very important in storytelling. I would like for people to value the artistry of the work in film and TV hairstyling. It’s what makes the characters come to life from script to screen. 

Matt Minton: I completely agree. And a last question, Is there anything else that I haven’t mentioned that you want people to know about the film or your work on it?
Andrea Mona Bowman: I would love people to know that it takes a team to create and develop a film. I had a great team of talented hairstylists and barbers that put in the work to create the most authentic looks that honor August Wilson’s legacy through our awesome director Malcolm Washington’s vision.

The Piano Lesson is currently streaming on Netflix.