What got them on board? Dare I say there are even some funny moments.”, She adds, “It also about race and gender and the treatment of marginalized groups. “I thought it was a fresh take, and I thought, ‘WOW, THIS IS A PLAY I WANT TO SEE! Larkin is able to tell Scott that Jamal and two other black men were pulled over by police but is unable to tell them anything further, other than the fact that Jamal's car had a provocative bumper sticker about violence against cops. One of the bullets (it is unknown if it was a stray shot or ricochet) accidentally hits Jamal in the head, which kills him instantly. THIS IS A CULTURE-CHANGING PLAY.’”. I want to be part of this transformative piece. In jeans and tennis shoes, with her hair pulled back to highlight her weary, worried face, Ms. Washington trails no glamour from her seven seasons as the political fixer Olivia Pope on “Scandal.” Nor does she have any of Olivia’s finesse and power. With its unrelentingly high tension on every level — maternal, marital, societal — it’s more like a slice of a nightmare, with few contours despite its surprises. Marking the Broadway debut of playwright Christopher Demos-Brown and directed by Tony Award® winner Kenny Leon (A Raisin in the Sun, Fences), AMERICAN SON is a gripping tale about who we are as a nation, and how we deal with family relationships, love, loss, and identity. Some involve crackerjack timing or floods of tears. An edge-of-your-seat thriller about two parents seeking information about their child, American Son is certainly the kind of play that keeps us talking. The play’s schematic setup allows Mr. Demos-Brown to demonstrate how the tendrils of prejudice creep everywhere, even into the cracks of a marriage. “American Son,” by Christopher Demos-Brown, is part of a wave of new plays that consider the vulnerability of young black men in their dealings with the police. They’ve made a commitment to love. For Jada Pinkett Smith, it matters that the play lets so many types of people speak their minds. The film stars Kerry Washington, Steven Pasquale, Jeremy Jordan and Eugene Lee. This puts enormous pressure on the production to keep the personal material in focus, lest the whole thing tip into polemics. Marking the Broadway debut of playwright Christopher Demos-Brown and directed by Tony Award® winner Kenny Leon (A Raisin in the Sun, … Though I could quibble with some of the staging, which sometimes seems to get stuck behind furniture, this is the director Kenny Leon’s best work to date: incisive and breakneck. IT’S A SUSPENSE THRILLER. At this time, Lieutenant Stokes arrives and places Scott under arrest after Scott shoves him. '”, Meanwhile, audience members may all have their own reasons to recommend the production. Along with the script by playwright Christopher Demos-Brown, Rhimes’s other reasons for seeing the play include Kerry Washington’s performance, Kenny Leon’s direction, and the fact that this particular story is being told on a Broadway stage. In the final scene, Scott exclaims "I can't breathe! Mr. Pasquale, for once ideally cast, fully inhabits Scott’s contraption of a personality, easygoing for about an inch and chaotic underneath. Its abrupt ending doesn’t even offer a chance for catharsis; it just spits you out. “I read it and was blown away,” says Gabrielle Union-Wade. On a stormy night in a Miami police station, Kendra Ellis-Connor is waiting for a report on the whereabouts of her son Jamal, who has suddenly disappeared. But unlike “Pass Over,” “Until the Flood,” “Kill Move Paradise” and “Scraps,” the style here is neither surreal nor poetic; it’s ticktock realism, deployed in real time. She is needling, sarcastic, suspicious, inflexible. Speaking about the interracial marriage at the center of the story, she says, “There is something about these two people loving each other and choosing to enter this adventure of raising a young black boy together that is unique to today. IT’S COMPELLING. Offering a reverse angle on the standard procedural, “American Son” takes place entirely in the waiting room of a South Florida police station, where in the middle of a stormy night Kendra and her estranged husband, Scott, await news of their missing 18-year-old son, Jamal. Kendra and Scott are devastated, and Stokes gives them a moment, but they can only wail in agony. Mr. Jordan, naturally ingratiating onstage, smartly uses that ingratiation to suggest a character who has never had to dig any deeper.

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