Passage Theatre presents Suzan-Lori Parks’s Topdog/Underdog

Although located in a contemporary landscape, this is a Shakespeare-quality script. It premiered off-Broadway in 2001 and won a Pulitzer the next year—Parks is, surprisingly, the first Black woman to win the Pulitzer Prize for Drama, but the award itself is unsurprising, given the script’s gradually building drama, hyperbolic monologues, clever wordplay, and impressive narrative control.

Parks’s deliberate use of redundancy to heighten tension ("I ain't laughing at you, bro") and her comedic phrases ("I stole and stole generously") are amazing in their realistic simplicity. While the crux of the play is family dynamics, Parks simultaneously addresses issues in limited-resource areas, like the breakdown of working-class families, job insecurity, race-based wage discrepancy, absent police, and toxic masculinity. These social truths manifest throughout the play, showing what happens when children of upwardly mobile working-class families lack generational wealth and struggle to survive while dealing with their individual traumas.

A standout production

This director and the two-man cast clearly understand the source material and its intertwined themes. St. Pierre and Merchant are completely in sync with the script's humor, the audience, and each other. They deftly handle the play’s constantly shifting cadence from affection to anger and back. St. Pierre is a master of deadpan humor who elevates slapstick to its highest level. Merchant could’ve easily played Booth as a one-dimensional villain, but he uses a multi-layered approach showcasing the character’s underlying "I AM THE ASSASSIN" violence alongside playful, brotherly affection. With only two people shoved into one space, harvey's staging keeps the energy dynamic. The siblings’ natural chemistry and casual humor never feel staid.

Major credit is also due to the entire production team. Scenic designer Anthony Wiegand’s graffiti wall set, with exposed slats, paint-distressed door, and clever sliding walls perfectly sets the scene. Lighting design by Danie Taylor feels effortless, subtly lighting the monologuist without an over-the-top spotlight. Costume designer Tiffany Bacon colludes perfectly with prop designer Melody Marshall to create Booth’s hilarious multi-layered shoplifting outfits. Sound design and discreet video transitions by Damien Figueras firmly locate the play in Trenton without ever overtaking the actors.

A top dog in Trenton

I was, overall, not a fan of Passage’s 2024 Black History Month offering, Ghetto Gods in Divineland, but this year’s production, marking the company’s 40th anniversary season, is a masterclass in directing, acting, set design, costuming, and more. If you never got to see this play on or off-Broadway, now is your chance. Trenton might be the region’s underdog, but Passage Theater’s offering is not.