By Darlene Donloe
It doesn’t do it justice to call Suzan-Lori Parks' Pulitzer Prize-winning play, Topdog/Underdog, a masterpiece.
While it is a masterpiece, it’s so much more. There is so much to unpack in this commanding two-act play.
It explores the complexities of brotherly love, family identity, and the struggles of being Black in America.
TopDog/Underdog, currently playing at the Pasadena Playhouse through March 23, is directed by the inimitable Gregg T. Daniel, who, once again, delivers a creative, effective production that is both engaging and emotional.
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| Gregg T. Daniel |
The play, told in a dark, dank basement apartment, tells the story of two brothers, Lincoln (Brandon Micheal Hall) and Booth (Brandon Gill), whose father gave them their names as a joke. This foreshadows a lifetime of sibling rivalry and resentment.
The play, appropriately described as a darkly comic fable that is poetic, gripping, and unforgettable, is about how the brothers are in freefall as they struggle to find their footing as they hustle their way through life. Haunted by the past and their obsession with streets, coins, and cards, the brothers come to learn the true nature of their fate.
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| (l-r) Brandon Gill and Brandon Micheal Hall |
Daniel, who never wastes the chance to move a story forward, fills the stage with necessary, effectual movements from the two stars, Brandon Micheal Hall and Brandon Gill. They are mesmerizing to watch as they rhythmically deliver Parks’ forever-in-motion lines. Daniel’s give-and-take direction brings intensity when needed before yielding to more comical moments. Daniel's even flow allows Hall and Gill to freely tell the story through various means, including dialogue, their physicality, and distinct subtle, inherited idiosyncrasies.
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| Brandon Gill |
For instance, Booth’s anxiety-laden body is constantly moving on stage, as if he’s hyped up on something. Lincoln, the elder of the two brothers, is more laid back and controlled in his body.
It’s clear that Booth, who can’t hold down a job, is dealing with some mental issues. He wants desperately to master the slick three-card Monte his brother, Lincoln, used to command – but can’t quite get there. Lincoln is trying to stay away from his past, while his brother, Booth, wants him to teach him everything so that he can become the king of the three-card Monte hustle.
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| Brandon Micheal Hall |
Lincoln has his issues. First, his gig is playing Abraham Lincoln at an arcade, which is, admittedly, “a stretch” since he is Black. He was also dumped by his wife, who either did or didn’t sleep with his brother. The two brothers laboring to be free in a confined space leads to disharmony between the two. Sometimes, the tension is high, sometimes not high enough given their circumstances. After all, Lincoln is crashing at Booth’s place, which is already too small for one person, let alone two.
Through the characters' experiences, Parks delves into themes of toxic masculinity, manhood, and violence, offering a powerful commentary on the societal expectations placed on Black men.
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| (l-r) Brandon Gill and Brandon Micheal Hall in Topdog/Underdog |
The play's use of language is poetic and evocative, with Parks' unique voice shining through in the dialogue.
The play has received widespread critical acclaim, with many praising its innovative storytelling, complex characters, and thought-provoking themes.
The original production, directed by George C. Wolfe, starred Don Cheadle and Jeffrey Wright and won several awards, including the 2002 Pulitzer Prize for Drama.
In recent years, Topdog/Underdog has experienced a resurgence in popularity, with several productions and revivals, including a 2022 Broadway revival starring Corey Hawkins and Yahya Abdul-Mateen II, which won the Tony Award for Best Revival of a Play.
The play's enduring relevance is a testament to Parks' masterful storytelling and her ability to capture the complexities of the human experience.
The New York Times called Topdog/Underdog “The Greatest American Play of the Past 25 Years." It is a must-see play that will move, test, and stir audiences.
Its exploration of the human condition, innovative storytelling, and powerful themes make it an authentic tour de force of the American theatre.
Kudos to the set designer, Tesshi Nakagawa, who created a favorable, dilapidated, squalid, cramped room in a grand proscenium space for the brothers to reside. Kudos also to Angelene ‘Angie’ Storey (assistant scenic designer), Angela Balogh Calin (costume designer), Jared Sayeg (lighting designer), Jeff Gardner (sound designer), Andra Allmond (associate sound designer) with composition by DJ Tru, guitar composition and musical performance coaching by Maritri, movement consultation by Joyce Guy, intimacy and fight coordination by Sasha Nicolle Smith, and casting by RBT Casting (Ryan Bernard Tymensky, CSA).
‘Topdog/Underdog,’ written by Suzan-Lori Parks and directed by Gregg T. Daniel, stars Brandon Gill and Brandon Micheal Hall.
On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likable), O (oh, yeah), and E (excellent), ‘Topdog/Underdog’ gets an E (excellent).
Running time: 2 hours/20 min., 15-minute intermission.
‘Topdog/Underdog,’ Pasadena Playhouse, 39 South El Molino Avenue, Pasadena, 8 p.m., Wednesday and Friday; 7 p.m. Thursday; 2 and 8 p.m. Saturday, and 2 p.m. Sundays; 2 and 7 p.m., Sunday, March 23; through March 23; $40, 626-356-7529, PasadenaPlayhouse.org
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