"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."
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"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."
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"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."
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“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."
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"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."
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“’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.”
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“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.”
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“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.’”
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