I didn’t know what to expect with the one-man show, August Wilson’s “How I Learned What I Learned,” starring Tony Todd, through July 11, Pennsylvania Shakespeare Festival (PSF), DeSales University.

With the coronavirus (COVID-19) pandemic shutdown and PSF announcing March 26 that it would reopen for its 30th season with Todd in the acclaimed Wilson work (previews were June 29, 30; opening night was July 1), I was half-expecting a bare stage and single spotlight.

Instead, on July 2 when I saw the play for this theater review, I witnessed a production that is noteworthy not only for its lush, fully-realized stagecraft, but for a standing-ovation worthy performance by Todd.

And “How.”

For 90 minutes, with no intermission, Todd commands the stage and theater-goers’ attention. Apart from the impressive feat of memorizing the voluminous text, Todd gives a riveting performance not through over-the-top emotionality, but rather nuanced, subtle but sure delivery as if in one-to-one conversation.

Yes, it’s a monologue, but in Todd’s supple but firm voice, it becomes a dialogue, as the listener becomes a student of Wilson’s imparted wisdom at the heart of Wilson’s upbringing, inspiration and playwriting.

The “Hill District” in Pittsburgh is where Wilson (1945-2005) grew up and set nearly all his plays. “The Pittsburgh Cycle” recounted 20th century African-American life: “Jitney” (1982), “Fences” (1984, Tony Award, best play; Pulitzer Prize, drama; Oscar-nominated film, 2016), “Ma Rainey’s Black Bottom” (1984; Oscar-nominated film, 2020), “Joe Turner’s Come and Gone” (1986), “The Piano Lesson” (1987, Pulitzer Prize, drama), “King Hedley II” (1999; Todd originated the title role).

In subject matter, tone and rhythm, Wilson became a bluesman balladeer of the American stage. His plays have the cadence of song in verse, chorus. It’s call-and response. The audience can’t help but respond.

“How I Learned What I Learned” is no mere exercise in pedagogy. The words have a lived-in feeling. There is power in the script’s specificity of time, place and sentiment. “How I Learned” is not sentimental. Wilson’s words have the jazz of a beat poet or the everyday of tavern and town. He didn’t only sing the blues in the night. His plays echo the sound of train whistles. His words have the one-two punch of heavyweight truth. “How I Learned What I Learned” is as pertinent as today’s headlines.

Todd knows whereof he speaks. He knows the territory. Todd imbues the words with strength tender and true. He doesn’t bludgeon. He cajoles. He whispers. You lean in. He strides the stage, making contact with the audience, front row to back.

His body language is elastic, relaxed, conversational, confidential. At times, it’s almost a dance. His eyes gleam. His lips smile. He pauses a beat. He elongates some. Let’s others linger in the air. He sustains like a gifted woodwind player, acoustic guitarist riffing, stand-up bass player sustaining the beat, and a drummer on the snare. He’s vibing like a xylophone. Todd is all of these in this ensemble of words.

The production is simply superb, down to the visual Easter egg and cue referencing that other Pittsburgh neighborhood of sweater and theme song. This is a gritty “Mr. Rogers.” Blocking, gesture, music -- all are perfect in this gem of a scene, as is the entire show.

When Todd, as Wilson, sits down at the manual typewriter to click out the show’s scene titles, the words appear letter by letter on a large backdrop screen. When Todd talks about neighborhood, street scene, history or hustle, corresponding images appear on-screen. Music provides segues, bridges from one topic to another. The stage is awash in purple, or red or blue. It all works seamlessly, and beautifully.

The stage has a circular platform on which is placed the writer’s table with typewriter and a bench. A panel of windowpanes backdrops mid-stage, behind which are screens for projections. The windows symbolically let us look into the life, past and present, of August Wilson. They are windows to his soul, the soul of a people.

Director Christopher V. Edwards carefully constructs the play as a series of chapters in Wilson’s life. He has given Todd full range of the stage and his enormous talent.

Set design is by Baron E. Pugh. Projection design is by CJ Barnwell. Lighting design is by Jason Lynch. Sound design is by David M. Greenberg. Costume design is by Kendra L. Johnson.

It’s a treat to be able to see an actor the caliber of Tony Todd perform in the Lehigh Valley. It’s well worth the wait. Look for a production of August Wilson’s “Fences” in the 2022 PSF season (originally scheduled for 2020).

Tony Todd in August Wilson’s “How I Learned What I Learned” is a wow at the Pennsylvania Shakespeare Festival. And how. Don’t miss it.

“How I Learned What I Learned,” through July 11, Main Stage, Labuda Center for the Performing Arts, DeSales University, Center Valley, Upper Saucon Township. Tickets: www.pashakespeare.org; 610.282.WILL (9455).