NOLA Project Review
On October 24, the NOLA Project premiered its iteration of Pass
Over by Anionette Chinonye Nwandu at the New Orleans African American
Museum.
Before making its New Orleans debut, Pass Over had
enormous success in Chicago, then made its way to Broadway in New York, and has
even been recorded in a film version directed by Spike Lee, which premiered at
the Sundance Film Festival in 2018.
Roughly inspired by Samuel Beckett's Waiting For Godot,
this story follows two friends, Moses, played by Martin "Bats"
Bradford, and Kitch, played by DC PauL, plagued by systemic oppression but
dream of a new life away from their urban hellscape. Each morning, they recite
their "Promised Land Top 10," keeping hope alive that they will eventually "pass
over" the other side of their block. However, having lost several loved ones to
police violence, their understanding of "pass over" changes throughout the show,
at one point meaning attempting to "pass over" into the next life.
Their situation is juxtaposed by an encounter with a
blissfully ignorant white man, called Mister, played by Keith Claverie, who
lost his way trying to get to his mother's house. Mister is painstakingly
characterized by his repeated singing of "Oh What a Beautiful Morning" from
Roger and Hammerstein's Oklahoma! and his total lack of understanding of
Moses and Kitch's dire situation. After a confrontation with a policeman,
called Ossifer and also played by Keith Claverie, and the return of Mister in
an act of betrayal, the audience was left with a bleak glimpse of racism in
America.
Given the dark subject matter, Bradford and PauL's
performances keep the mood comedic and entertaining at times, creating
well-rounded characters and a believable friendship. Their relationship is felt
on a deep level through their routine greetings with each other, inside jokes,
and physical touch. At one point, Moses and Kitch hilariously create their own
version of a Mortal Kombat battle. These two performances make a
lived-in and tangible foundation for the show. Claverie's performance as Mister
brings a side of haunting suspicion to the show hidden in a performative
innocence. While this performance tends to be very loud and almost
caricaturized, its hints of ulterior motives create a dynamic character.
A real stand out in this show is the production and set
design. The show is performed in the courtyard of the New Orleans African
American Museum, in front of the large Tremé sign. While the play itself does
not have a particular setting, the performance being outdoors among the noises
of the New Orleans nighttime makes it believable that the conversations between
Moses and Kitch could be happening on the streets of Tremé. Production leans
into this idea incorporating this outdoor setting into the performances of the
actors. A few times during the show, helicopters flew over the neighborhood,
and the characters stopped and hid behind a shopping cart and milk crates as if
they're being watched. Even people passing by the venue would glance over at
the courtyard to see who's having such a loud conversation. The stage felt alive
in its setting and very grounded in New Orleans, creating a unique experience for
each audience.
The NOLA Project's production of Pass Over brings a distinct and real feeling to Nwandu's impactful story. The playfulness and intensity of the performances make the 80-minute run time feel like a lifetime spent with Moses and Kitch. The setting in the historic Tremé neighborhood makes this piece authentic and relevant for modern day New Orleans.
Pass Over is currently running until November 9 at
the New Orleans African American Museum, located at 1418 Governor Nicholls St.in
New Orleans. Tickets are available at nolaproject.com.
