Questions plague mankind. What are we doing here? What do we know? What are we waiting for? Topdog/Underdog, a fierce new play penned by Suzan-Lori Parks, follows closely in the footsteps of playwrights Samuel Beckett and Tom Stoppard by delving right into such inquiry. It’s not all about waxing philosophical, though. Parks’ adaptation is so strikingly written that it should keep you interested whether you’ve made friends with the existentialists or not.
An exploration of family, race, and the weight of history, the story traces the lives of Lincoln and Booth, two poor African-American brothers. The elder brother, Lincoln, played by Thomas W. Jones II, is a reformed three-card-monte con artist and works in an arcade dressed as Abraham Lincoln, faking death for anyone willing to drop a few bucks. Booth, played by Jahi Kearse, spends his days stealing, stuffing everything from shoes and ties to platinum stemware and pink silk bathrobes into his oversized parka. Their father, a jokester and a drunk, left them with a complicated family history. As they fight for control, the men swing between hatred and adulation for one another, creating the dramatic tension driving the play. When not at emotional extremes, the brothers amuse themselves with ribald stories, song, and a good deal of alcohol.
With raw, poeticized dialogue leading to a provocative climax, Parks infuses in theater what few can: a rhythm and a beat. A welcome sidestep from what normally bombards us in entertainment (i.e. “Newlyweds” with Jessica and Nick, and Gigli), Parks forces you to think. Jones and Kearse, who have previously worked together, have a natural dynamic and play off each other with incredible energy, which pushes the piece even further. Just as they seem to enjoy their performances, so does the audience.
Stepping out on the stage after writing and directing noted plays with Studio Theatre, Jones, the recipient of 10 Helen Hayes awards, gives a real and innovative portrayal of Lincoln. Kearse, a veteran of the Atlanta stage, is similarly superb, deftly navigating Booth’s nuances.
The direction by Joy Zinoman, the founding artistic director of Studio Theatre, left nothing to be desired. She explored all of the complex themes inherent in Park’s words. Rounding out the ensemble are some crafty behind-the-scenes gurus, who, through sound, lights, and props, create a pleasant backdrop. The soundtrack, by Neil McFadden, worked especially well with the hip atmosphere, and the set design of Russel Metheny was particularly thoughtful; playful yet never distracting.
This is not a show that hands you all the answers, or even all of the questions. It’s not designed to bedazzle and awe you with glitter either, but it’s worth the effort, because its ambiguity is its beauty. Analogous to a funky piece of modern art at the Hirshhorn, Topdog/Underdog will at first confuse you, but at the end you’re left amused, a little stunned, and a bit smarter.
Recently smacked with a Pulitzer Prize, and fresh from a hot Broadway run, this opportunity should not be missed.
