See it if Brilliant rethinking of Godot and Exodus. Both very recognizable in it, yet completely new, fresh and relevant. At times riveting!
Don't see it if you don't care for black stories or some fantastical plots.
See it if You're interested in themes regarding race. Very timely to today. Excellent performances from the cast.
Don't see it if You are offended by profanity or dislike intimate shows with simple staging.
See it if You consider yourself a liberal or woke (though I hate that term)...this show has a lesson for you. If you’re a conservative it’s MUST SEE!!
Don't see it if You’re a delicate flower and can’t take a good taste of reality slapped across your face...hard!!!
See it if poetic/hilarious/moving script w strong cast shows why modern blacks in ghetto paralyzed by fear of police
Don't see it if puzzled by absurdist plays or surreal scenes; or upset by continual use Nig**r, stereotype of brutal white cop Read more
See it if you want to see a 21st C 'Waiting for Popo': a fierce, original, provocative indictment of racial injustice & essential to #blacklivesmatter
Don't see it if you prefer to live under a rock or limit yourself to pure escapist entertainment. Read more
See it if BlackLivesMatter meets Godot w/a stop on 'da plantation' Nwandu's grandly theatrical drama is a potent allegory for the times Epic in scope
Don't see it if Leads are often broadly written (esp Master/Ossifer) & street patrois / profanity not for all Ending a little contrived despite its power
See it if you'd like to see a play that powerfully confronts the disproportionate killing of young black men by police in the US.
Don't see it if you'd be uncomfortable experiencing a dramatic handling of the fact that in the US police disproportionately kill young black men. Read more
See it if You enjoy well-acted, fresh, current takes on classic plays — in this case, Waiting for Godot.
Don't see it if You’re not interested in the Black Lives Matter movement. This is a very literal mix of Godot & BLM, which is a bit heavy-handed.
"Despite its grim relevance, 'Pass Over' creates a vivid world of injustice while riffing on earlier ones...This is daring dramaturgy, requiring the utmost in tonal control to keep it from tipping into righteous bathos. Danya Taymor’s thrillingly tense LCT3 production mostly succeeds. Technically, it is ideal...Within this prison, Ms. Nwandu has been careful to particularize and humanize her main characters so that the tragedy is not just theoretical or surreal."
"An intimate political play that grapples with epic themes and is likely to leave you shaken...Taymor keeps the pace popping, so the moments when everything stops hit hard...She elicits heart-rending performances from Hill and Smallwood...and Ebert is careful that his symbolic characters don’t slip into cliché...Although much of its repartee is quite funny, 'Pass Over' is a tough show. It’s intended to challenge and cause discomfort, and a lot is left to interpretation."
"The work proves a powerfully imaginative drama that will shake up audiences, instantly tagging the playwright as a significant new voice...'Pass Over' is more effective thematically than as drama. The dialogue at times feels aimless and repetitive...The narrative lurches confusingly, and some of the symbolism and its meanings prove elusive. But there's no denying that the work packs a powerful punch, one that's fully realized in this production, superbly staged by Danya Taymor."
“A provocative, inflammatory, exquisitely written work — a new masterpiece of modern drama...Provokes the uncomfortable, challenging conversations we need to have as our country grapples with racial bigotry that persists not just in law enforcement but in the very fabric of American culture...Impeccable performances...'Pass Over' urges us to get to the tough business of addressing the racial issues that we're afraid of discussing and then act to end the injustices."
"The cast of the one-act play, under Danya Taymor's direction, is uniformly strong...Playwright Antoinette Nwandu is an important new voice who has done an especially fine job of capturing the language of the urban streets and making it quite poetic. More importantly, in Moses and Kitch, she has created truly sympathetic characters who are trapped in what Moses explains is a 'mega-four' for life."
“’While the protagonists emerge as potent symbols of enduring injustice, they’re ultimately less compelling as individuals. For all the tenderness, humor and anguish that Hill and Smallwood mine under Taymor’s sensitive, animated direction, we get little sense of what drives their characters beyond pain and oppression...If 'Pass Over' makes a strong and necessary statement, it proves less conducive to starting a conversation.”
“There’s a lot to unpack in the 90-minute ‘Pass Over’: slavery allusions, biblical overtones—both of which could use more consideration from director Danya Taymor. But you can also boil Nwandu’s drama down to three simple humane words: Stop killing us. It’s an appeal, a demand, and, sadly, a wish.”
“One only has to watch the nightly TV news or read a newspaper to be aware of the plight of young black men in America being persecuted and even killed with alarming regularity by Caucasian policeman. While this unfortunate turn in American society can nonetheless feel far removed for many (especially in Manhattan), playwright Antoinette Nwandu forces us to face this phenomenon head on in ‘Pass Over.’”