By ALAN SMASON, WYES Theatre Critic (“Steppin’ Out“)
Playwright Antoinette Chinonye Nwandu has said the concept of Pass Over is similar to that of Beckett’s Waiting for Godot and that it was born out of the communal mourning over the death of Trayvon Martin. But it is much more than that.
It is a simultaneous attempt to give thought to the plight of young African-American men who find their lives tortured by inequality and a lack of opportunity, while laying blame for their second class citizenship on the evil institution of slavery and its resulting legacy of systemic racism.
While the two Black characters of Moses (Martin “Bats” Bradford) and Kitch (DC Paul) attempt to move off the urban block they occupy, they are kept in check by Mister (Keith Claverie), at times a White male equivalent to a “Karen” or alternatively as Ossifer, a menacing, strutting police officer, who symbolizes supremacy and power.
The playwright discovered the names of Moses and Kitch together on a ship’s register of enslaved people and she thought their names particularly ironic. Moses, of course, is a revered biblical leader noted for his leadership, while the name Kitch suggests a follower and a menial.
The gritty language of the street and the rampant use of “nigger” as a term of endearment for one another, but also as a moniker that can never be lost, could make audience members uncomfortable and uneasy. Indeed, it is intentional. Throughout the 80-minute long work, there are few times when it is not employed with abandon.
Nwandu bestows a longing for the two to “pass over” as alpha dog Moses explains to follower Kitch. Like the Hebrew nation led by the biblical Moses, they will rise up and move out from their slave experience and with God’s help emerge into “the land of milk and honey.”
But as we all know, Moses was not allowed to see the Promised Land. And as this play found its genesis in the angst of the Black community’s outcry of injustice at the killing of Martin (and later erupted in protests over the police killing of George Floyd, Alton Sterling and so many others), it is not intended to have a happy ending.
Yet, all is not dire. Nwandu weaves a riveting relationship between the two men. As Moses, Bradford is the man with the vision and the more intense of the two. Bradford shines in this performance as he moves from unparalleled joy at the prospect of getting out and getting away from the irksome and weary plight the two share to one of utter despair.
DC Paul is also perfectly cast as a second banana. He is enthralled by the hope that Moses gives him and he looks expectantly to their envisioned exodus and deliverance. Because Moses takes the initiative, he sometimes discounts Kitch’s feelings and unintentionally runs roughshod over them. Kitch is not above hitting back. When he is hurt, he lets Moses know. Paul has the more textured performance between the two, vacillating from a loyal follower to a more than adequate foil to Moses.
Claverie, as the lone White man, at first appears to be the comic relief in the work, but his innocent act turns out to be deceptive. He represents in a fashion the ancient Egyptians, the antebellum slave owner and both the present-day establishment and the armed force it uses in keeping young Black men in check and hopeless.
Of course, this is metaphor and a bit of caricature, too. But if the job of a playwright is to get the audience to think more deeply on a subject or to consider an unexposed perspective, then Nwandu largely succeeds.
The use of gangsta rap throughout the night as a background is effective in giving the setting a genuine feel of the soundtrack of the streets and the lyrics particularly express the deep-seated desperation, exasperation and anger. The sound design by Khiry Armstead also includes sirens designed to send fear into the hearts of the actors.
Directed by The NOLA Project artistic director Tenaj Wallace, this joint production with the New Orleans African-American Museum is the area’s regional premiere of the work, which found itself the initial Broadway production in the post-pandemic era. The short-lived Lincoln Center production came about nearly a year after the protests sparked over the killing of George Floyd and enormous pushback from the African-American theatre community for increased equity, diversity and inclusion within its ranks.
Torey Hayward acts as the assistant director while Jazzmyne Cry handles the props and serves as the set designer. The fight choreographer is Alex Martinez Wallace.
The authentic costumes are by AYA Designs Global and Joan Long demonstrates an innate sense in how to effectively light the outdoor venue at the museum.
With its dark themes, Pass Over is not recommended for young children, but it does give older children and adults something to think about and, perhaps, to find a way out for future generations trapped by an imposing and unforgiving society that fails to see the full potential of young Black men.
Pass Over by Antoinette Chinonye Nwandu is presented as a joint production of The NOLA Project and the New Orleans African-American Museum from now through November 9. Some reserved seat tickets include a chair ($60). Some reserved seat tickets provide seating ($45), while bring-your-own-chair seats are listed at $35. For tickets, click here.
