speakeasy's "pass over": but also.....

dapping up: hubens "bobby" cius & kadahj bennett in "pass over"
(photo: nile scott studio)

pass over, a new play by antoinette nwandu, is the current co-production by speakeasy stage company and the front porch arts collective. after first being performed by chicago's steppenwolf, it was then produced in new york at lincoln center, where it won the lortel award for best play (and was filmed for amazon by none other than spike lee).

described as a “mash-up” of waiting for godot (considered by some as a theatrical masterpiece and by others as like watching paint dry) and the exodus story. at a spare ninety minutes, directed by monica white ndounou, it's written all in lower case, reminiscent of the poetry of e.e.cummings, performed as though it were blank verse or rap without music. the setting is “now, right now, but also 1855, but also the thirteenth century b.c.e”. the time is “a ghetto street, a lamppost, night, but also a plantation, but also egypt, a city built by slaves”.

ossifer enters: lewis d. wheeler, hubens "bobby" cius & kadahj bennett in "pass over"
(photo: nile scott studios)

its cast is spare as well. one is a young black man named moses (kadahj bennett) “but also a slave driver, but also the prophesied leader of god's chosen people”; a second young black man is named kitch (hubens “bobby” cius) “but also a slave but also one of god's chosen”; the remaining two roles, both played by lewis d. wheeler, are mister, a seemingly wholesome chap given to expressions like “gosh golly gee”, “but also a plantation owner but also the pharoah's son” and ossifer, an officer of the law (or “po-op”), “but also a patroller but also a soldier in the pharoah's army”. as in the becket play, the two lead characters are unable to leave their street corner. there is no intermission; if moses and kitch cannot leave neither can we.

mister's picnic: lewis d. wheeler, kadahj bennett & hubens "bobby" cius in "pass over"
(photo: nile scott studios)

there are some obvious parallels to becket even in a brief synopsis of the work, but it stands on its own as an absorbing and alarming expose of contemporary black experience. kitch declares that the name “moses” portends that he will lead “deez boys right off deez streets on to dat promised land”. moses himself alludes to a land of milk and honey despite lactose intolerance and glycemic indexes, as these are the least of their troubles, truly nothing compared to the obliviousness of “mister” who cannot grasp why they get to use the “n-word” but he does not; he is clueless about his not having the right to use the word. (yet, interestingly, the playwright feels free to portray moses' use of the charged term “faggot”). moses disses those who are fixated on passing over to the promised land of heaven, where he proclaims he wants that good life now. it's telling that both young men can recall every name of those who have been killed in their hood, giving the lie to the presumption that these victims (including one of the most oppressed societal groupings, that of trans people of color) are ordinary, even forgettable. in ancient pyramidal times, in the not-so-ancient plantation era, and on the inescapable street corner, once again history repeats itself, or at least rhymes.

promised land: hubens "bobby" cius & kadahj bennett in "pass over"
(photo: nile scott studios)

attention must be paid not just to the triumph of the playwright's words on the page but also in its execution by director ndounou and her three stellar actors, each of whom seems to be thoroughly immersed in his character. the simple but effective contributions of the creative team include scenic design by baron e. pugh, costume design by chelsea kerl, lighting design by kathy a. perkins, and sound design by anna drummond.

promised land 2: hubens "bobby" cius & kadahj bennett in "pass over"
(photo: nile scott studios)

as the playwright herself puts it, an audience won't be immediately transformed or relieved of her or his baggage, but find such baggage “a little bit shifted”. the most memorable aspect of her play, as opposed to becket's, is that her characters aren't left alone, to age. just as the frequent use of the “n-word” can never be completely erased, and in fact has become for the community of color an expression of brotherhood (and sisterhood), so audience members may find this sometimes enigmatic work either an affirmation or a revelation.

what they won't feel is that it is forgettable, (extended through february 2nd), but also.....

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