Playwright Antoinette Nwandu wrote PASS OVER in response to the ongoing racial violence and systematic oppression experienced by Black people in the United States. The play was heavily influenced by the numerous incidents of police brutality and the killing of unarmed Black men that have been widely publicized and protested in recent years. Nwandu has spoken about her desire to address these issues in a way that engages audiences on both an emotional and intellectual level. In Ground Floor Theatre’s currently running production of PASS OVER, Nwandu’s desire is realized.

PASS OVER is entertaining and even funny, but it is also challenging and uncomfortable. Nwandu has mentioned in interviews that she hopes PASS OVER serves as a call to action, prompting audiences to reflect on their own role in perpetuating or combating systemic injustice. The Ground Floor Theatre’s production of the play does just that.

The play is a modern reinterpretation of Samuel Beckett’s WAITING FOR GODOT crossed with biblical allusions to the story of Moses leading the Israelites out of Egypt. Two young black men, Moses and Kitch (Sibonelo Shezi and Adonis Anderson), spend their days on a street corner dreaming of a way out of their predicament. They talk about their hopes and dreams and go through them several times in list form, a self-soothing activity to ease their legitimate fears of a culture that does not see them as valuable. They long to “cross over” to a place where they can be free and safe. And of course, Moses will lead them out of this hell and into the promised land.

Their conversations are interrupted by two white characters: a seemingly well-meaning man named Mister and a menacing cop named Ossifer (both played by Nathan Jerkins). I’ll leave it up to you to imagine how these scenes might play out.

But let’s talk about the ending first. I’m not giving anything away, rest assured; there are no spoilers here. I just want to point out what is perhaps one of the greatest achievements of a theater production: leaving an audience speechless and stunned in their seats at the end of the show. In that regard (see what I did there), director Simone Raquel Alexander does a great job. I wondered how long I would be allowed to sit still and process what I had just seen.

Nwandu wrote three different endings for PASS OVER, each reflecting the social and cultural moment in which it was written. Imagine 2017, a week after Trump’s election, when PASS OVER premiered at Chicago’s Steppenwolf Theater. Then a film version directed by Spike Lee premiered at both the Sundance and SxSW film festivals in 2018. In 2021, the play was restored to Broadway after it came to a halt due to the pandemic. For each ending, Nwandu gave us a different one. With each show produced, the playwright encourages the production company to choose the ending most appropriate for their place and time.

I jump at any opportunity to see a Ground Floor Theatre show. This troupe takes risks, some of which are better received than others, but none are so bad that they deserve a bad review. GFT has a winning mission, and it invariably accomplishes it. Co-artistic directors Lisa Scheps and Patti Neff-Tiven made a great choice with PASS OVER. Playwright Antoinette Nwandu gave us a stunning script. Sibonelo Shezi, Adonis Anderson, and Nathan Jerkins gave seamless performances the night I was there. This is an intense show, and director Alexander deserves huge praise for getting the pace and tone spot on throughout. The dialogue between Moses and Kitch is musical, poetic, fast-paced, if at times difficult to understand. Is this intentional or not? In one scene, it becomes clear that her dialect defines her to others. Obviously, as a white critic, I could point out that I couldn’t hear or understand some of the dialogue between Moses and Kitch. But that says something about the relationship between whites and blacks, doesn’t it? Intentional? Hard to say.

Fred Demps’ simple circular set puts us face to face and side by side to experience, if we dare, our various reactions and feelings to the piece, helping us to understand clues, gain validation and deepen this immersive experience. Shezi and Anderson build a certain intimacy in their relationship as Moses and Kitch. They are chosen brothers surviving in a racist world as best they can. While the script reimagines WAITING FOR GODOT and Moses leading the Israelites out of Egypt, Moses and Kitch reminded me of Lennie and George in OF MICE AND MEN. Kitch is an innocent but un-disabled Lennie who forms a trusting relationship with a George-esque Moses as his leader. Shezi and Anderson are effortless, relaxed and convincing. I look forward to seeing more of both of them. Jerkins is hilariously awkward as The whitest, well-meaning guy whose advances turn out to be… well… you’ll have to find out for yourself. As Ocifer, he’s embarrassingly presumptuous. Jerkins is one of the most remarkable actors around, playing his roles with precision and discipline, and PASS OVER is no exception.

This outstanding effort from Ground Floor Theatre deserves your time and attention. PASS OVER is both literal and allegorical. It is both confronting and entertaining. It is both predictable and surprising. But most of all, it is a window into a collective trauma that many of us claim to want to change, and sheds light on the shadows of our resistance to it.

Content note: PASS OVER contains explicit and racially charged language, depictions of racist violence and police brutality, gun violence, and strong emotional content that may be disturbing to some people. Ground Floor Theatre has signed a pledge with GunNuetral.org that for every gun that appears in their productions, a donation will be made to an anti-gun violence organization.

Running time: 70 minutes. “No break. If Moses and Kitch can’t leave, you can’t either.”

SKIP

By Antoinette Nwandu

Director: Simone Raquel Alexander

Theatre on the ground floor

979 Springdale Rd Suite 122

Austin, TX 78702

Photography: Steve Rogers

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