Feature: Pulitzer Winner TOPDOG/UNDERDOG Centers Black Stories at Passage Theatre

In a historic Gothic church turned playhouse in Trenton’s Mill Hill neighborhood, two brothers take the stage in a story that plays for deadly stakes. Passage Theatre Company’s production of Suzan-Lori Parks’ Pulitzer Prize-winning TOPDOG/UNDERDOG marks both a departure and a homecoming for Trenton’s only professional theater company.

“Somewhere the story of brothers Lincoln and Booth is happening in Trenton as we speak,” says Executive Artistic Director Brishen Miller. “It is time for people like them, and truly all Americans, to demand our own humanity even as it is being pried away from our souls.”

The play follows Lincoln (Steven St. Pierre) and Booth (Anthony Vaughn Merchant), two brothers whose names carry the weight of historical tragedy. Lincoln makes his living by performing as Abraham Lincoln in whiteface at an arcade, while Booth dreams of mastering the three-card monte hustle that his brother has sworn to leave behind.

For director marcus d. harvey, who previously directed Surely Goodness & Mercy by Chisa Hutchinson at Passage during the pandemic, the story cuts deep into contemporary realities. “Black men in this country, we walk around with targets on our backs, and we don’t get to express ourselves and be seen as humans with our flaws and with our vulnerabilities,” harvey explains. “I wanted them to see themselves in the work.”

The cast brings their own lived experiences to these complex roles. St. Pierre, who grew up in Jamaica, Queens, finds parallels between his character’s journey and his own life as an older brother. “I can relate to it,” he says, describing how he draws from memories of family dynamics to inhabit Lincoln’s world. His approach to the character emphasizes living in the moment rather than anticipating the story’s intense conclusion. “I’m not trying to work towards something. I’m coming and being who I am, and inserting myself in this person’s life, finding the parallels and whatever differences there are.”

Merchant, who plays Booth, approaches the role with a deep appreciation for the play’s layers. “This play is a deep love letter to Black men, Blackness, Black grief, and Black pain," he reflects. “But let’s not forget the Black joy and the Black family.” For him, the humor in the play comes from recognition — “brothers being brothers” and “people being people.” He explains how their collective background speaks to the production’s deeper purpose: “Everyone in this [Zoom meeting] room is an educator. We all teach.”

The production represents a shift for Passage Theatre, which has primarily focused on new works throughout its 40-year history. Miller explains that while the company maintains its mission of presenting socially relevant plays that resonate with the Trenton community, sometimes that means bringing important existing works to audiences who haven’t had access to them locally.

To ground the production in Trenton’s reality, harvey led the cast on walks through the city during rehearsals. “I don’t like to be an outsider,” he says. “I like to be a part of communities that tell stories.”

The impact is already evident. After a recent student matinee, one audience member reached out to both St. Pierre and Merchant with a moving message about how the story affected them. “This is why we do this,” St. Pierre says, “to impact people and have them express how they feel about things.”

Despite the play’s emotional intensity, the actors have developed careful approaches to maintaining their well-being. “Acting is therapeutic, but it is not therapy,” Merchant explains. “Rehearsal is building the slide so that in performance you can just ride the slide.” The cast supports each other through the challenging material. “We look at each other before we start the show, and tell each other, ‘Hey, I got your back,’” Merchant says. “Because it is just you and me on that stage, man. It’s you and me.”

Miller emphasizes that while the play centers Black experiences, its reach should extend to all audiences. “Most white people do not have to interact in Black spaces, if they so choose… But, because of how the system is structured, Black people have to hear white stories,” he notes. “This is a Black show that everyone needs to see because it is a part of who we all are.”

TOPDOG/UNDERDOG runs February 20 through March 9, 2025, at the Mill Hill Playhouse. The production features scenic design by Anthony Wiegand, sound and projection design by Damien Figueras, lighting by Danie Taylor, costumes by Tiffany Bacon, and props by Melody Marshall, with fight choreography by Anthony Domingues.

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