On a recent Sunday morning in West Hollywood, actress Danielle Deadwyler was dressed in all white, sporting a crisp Tory Burch dress.

“You know what white symbolizes?” she asked. “Spiritually, it’s about rebirth. You get baptized, wear a white robe, and allow yourself to be seen in a new light, to transform. I feel like that’s where I’m at right now.”

Did she have any idea of where this transformation might take her?

“Not a clue,” Deadwyler replied with a laugh. “But I’m open to it.”

Judging by her recent success, it seems she’s definitely on the right track. After landing supporting roles in “The Harder They Fall” and “Station Eleven,” Deadwyler truly broke through with the 2022 film Till, which chronicles the 1955 Mississippi murder that galvanized the civil rights movement. She received critical acclaim for her portrayal of Mamie Till, Emmett Till’s mother, earning top honors from the NAACP Awards, the Gotham Awards, and the National Board of Review.

She brings the same depth and presence to her latest role in Netflix’s The Piano Lesson, which premiered on the streaming service last week. The 42-year-old actress is once again generating buzz for her powerful performance. Based on August Wilson’s play, The Piano Lesson casts Deadwyler as Berniece, a widowed mother in post-Depression-era Pittsburgh, caught in a struggle with her brother, Boy Willie (played by John David Washington), over the fate of the family’s piano, which holds deep personal and ancestral significance.

Deadwyler’s portrayal of Berniece as she navigates family conflict, rejects the advances of preacher Avery (Corey Hawkins), and shares a tense, electric moment with Lymon (Ray Fisher), Boy Willie’s friend, is compelling and nuanced. “I never felt like I was watching Danielle; I never thought of her outside of the role,” said Denzel Washington, who produced the film. “Unlike other actors who want you to see their work, Danielle simply becomes the character. It’s not about breaking it down, it’s about what you feel — that’s the true measure of a performance.”

This ability to evoke deep emotional resonance is one of Deadwyler’s standout qualities — no matter what her characters are experiencing, the audience feels it too. Yet, in real life, the Atlanta-based actress is lighter and more playful than one might expect from the heavy roles she often plays. Recalling how she used to tease co-star John David Washington like a sibling, Deadwyler laughed. “I’m terrible! That poor man, I feel bad! No, actually, I don’t.” She laughed again, lightheartedly.

We met on the terrace of a West Hollywood hotel, and as we spoke, a curious squirrel attempted to join the conversation, inching closer from the eaves above. Deadwyler turned toward it with a smile. “Get out of here,” she joked. “You’re not getting the scoop first.”

Here are edited excerpts from our conversation.

On the difference between press tours and being on set:

“When you’re doing a press tour, it’s a full day of being ‘on.’ You’re constantly giving energy, shifting from one thing to the next. You might start the day with a breakfast meeting, then do a screening Q&A in the afternoon, and finish with an awards gala at night. A production is a different experience entirely; it’s about being enveloped by the work. That kind of creativity doesn’t drain me the way a promo tour does. And I really enjoy promo work, because it lets me engage deeply with the material, to really talk about it and connect with others.”

On working with the Washington family:

The Piano Lesson is directed by Malcolm Washington, produced by his father, Denzel, and stars his brother, John David. Had Deadwyler ever met them before?

“Nope. I don’t go to parties; I’m based in Atlanta,” she said, laughing. “I met Malcolm over Zoom. We clicked right away. He’s like my artistic twin.”

On her character, Berniece:

“We had conversations about Zora Neale Hurston and what it meant to be a woman of that time, about how Berniece might embody some of those same archetypes. We also explored Berniece’s sexual and emotional desires — what does it mean to fulfill them or suppress them in the face of all her responsibilities?”

Is Berniece aware of her unfulfilled desires?

“She definitely suppresses them. She feels she must maintain a certain image and responsibility, especially as a mother. There were women in that era who were pushing boundaries, like blues singers who traveled the world, but Berniece isn’t that person. She’s very rooted in her Southern Christian values and is seeking stability in a way that doesn’t allow for personal indulgence.”

On Berniece’s relationship with preacher Avery:

“If Berniece truly wanted stability, she’d be with Avery, but that’s the tension. She resists him because there’s something deeper, something more spiritual and visceral that she needs to explore. It’s not just about fleshly desires; it’s about the spirit, about ancestral wisdom guiding her.”

On how she approached Berniece’s physicality:

“I had a head start because Berniece’s physicality is rooted in the era. In Till, there’s a very strict presentation of womanhood. But in my personal life, I’m pretty rough around the edges, honestly,” Deadwyler said, laughing. “Ask my son — I’m not one to dress up unless I have to. But the way Berniece carries herself is essential for how she presents as a matriarch. She is the oak of the family, holding everything together. It’s a performance of strength and dignity.”

On the creative process:

Deadwyler’s ability to sink deeply into a role is something she describes as a “succumbing.” “It’s hard to describe the experience because you’re living it. As humans, we just do what we do — there’s something beneath us that guides the process.”

On the value of rest in her artistic journey:

“I didn’t always appreciate the importance of rest. It’s only recently that I’ve realized how vital it is. When you’re exhausted, you have to recognize when to step back and recharge.”

On wrapping a project like The Piano Lesson:

“I always feel a sense of excitement before and a sadness when it ends. Especially when it’s something like this — you want to stay in that world with those people, feel the energy, but everything is temporary. And that’s what makes it precious.”

On her grounded approach to fame:

Even as her star rises, Deadwyler has stayed based in Atlanta, far from the Hollywood hustle. “I like being close to my family, to nature, to peace. It’s important for me to remain grounded, to stay true to who I’ve always been.”

On staying authentic in an industry that can be seductive:

“It’s easier now because I’ve had enough life experience. I know what it means to be pulled in different directions. I’ve felt those pulls as a mother, as an artist. It can be more difficult for younger actors, but I want to encourage them: It’s okay to say no, to stay true to yourself.”