In Antoinette Chinonye Nwandu’s surreal and morbidly funny existential drama “Pass Over,” two characters who might be fugitives from a Samuel Beckett play find themselves in a world where being Bla…
,” two characters who might be fugitives from a Samuel Beckett play find themselves in a world where being Black means being trapped forever on a blasted heath on the wrong side of the Promised Land.
All eyes are drawn to the two tramp-like figures who command the stage. Moses, a hardened denizen of the streets, is played bywith a ferocity that attests to a lifetime of hard luck and racist gut punches. Is he mad? You betcha. In Hill’s performance, his rage is barely contained by the covering of his skin. But that doesn’t deter him: In fact, it stokes his passion for plotting, planning and dreaming of escape away from his street corner, across the river and into the land of milk and honey.
Moses’s sidekick — Vladimir to his Estragon, or Estragon to his Vladimir — is a guy named Kitch, a sweet-tempered, life-loving extrovert played by Namir Smallwood with the wit of a clown and the optimism of a child. Like his friend, Kitch is desperate to get off the street corner and begin his life, but something keeps him rooted in place. If it isn’t gunshots, it’s a racist cop with a club.
Wilson Chin’s set design for the forbidding no-man’s land where Moses and Kitch have paused to ruminate on the futility of their existence is spartan enough to store away for some future production of “Waiting for Godot”: A garbage can, a drunken-looking lamppost, something that looks like a rock — and that’s about it.
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