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Anyone who has seen Nwandus work knows theres a combustible quality to her writing.
It was almost frightening to be in an audience so full of open flames.
Beneath their grace, though, theyre constrained by an awareness of the police.
As theyre rallying their courage to go, a white man, Mister (Gabriel Ebert) wanders by.
Is he, hell.
for his own purposes.
Hes the kind of guy who gives scouts honor that he would never be racist.
You know him, or you should the devil loves a crossroads.
InWaiting for Godot,according to Vivian Mercier, nothing happens, twice.
The tramps wait; the tramps wake and wait again.
the source of an almost unbearable but still hilarious menace.
In moving to Broadway, Nwandu has, while redrafting, given the script a new ending.
It exhorts and exposits; it kindles the faithful.
Some of these new, final scenes do still feel a bit improvisational.
The flawlessness of the earlier sections falls away, and we can almost hear the lets try this?
of the rehearsal room.
But I think the awkwardness of this happier ending might actually be the point.
But then, about two-thirds of the way through the night, someone coughed, and my heart froze.
Just as my anxiety was climbing, Moses started saying things I had never heard before.
Pass Overis at the August Wilson Theatre through October 10.
