Review: TOPDOG/UNDERDOG at 4th Wall Theatre Co.

4th Wall Theatre's production of Suzan-Lori Parks' Topdog/Underdog is a powerful, riveting exploration of family, survival, and identity that solidifies the company's reputation for bringing bold, intimate theater to life. Directed with precision and insight by Aaron Brown, this Pulitzer Prize-winning play finds new resonance in a production that balances sharp humor with gut-wrenching drama.

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The heart of this production lies in the phenomenal performances of Timothy Eric as Lincoln and Brandon J. Morgan as Booth. The two actors create a masterclass in chemistry, feeding off each other's energy and tension with precision. Eric brings a wearied, layered gravitas to Lincoln, a man haunted by his past yet clinging to a sense of purpose in the shadows of a turbulent life. His portrayal of Lincoln's moments of quiet resignation—contrasted with sudden eruptions of vulnerability—is nothing short of mesmerizing.

Morgan, as Booth, delivers a fiery and magnetic performance that captures the character's unrelenting ambition and insecurity. Booth's bravado and relentless quest for validation are infuriating and heartbreaking, and Morgan balances these qualities with incredible charisma and raw emotion. His ability to seamlessly shift from cocky humor to deep emotional pain gives the character a sense of tragic unpredictability.

Eric and Morgan create an electric dynamic that balances love, rivalry, resentment, and dependency in authentic and deeply personal ways. Every line of Parks' sharp, poetic dialogue is delivered with precision and power, and their physicality adds an extra layer to the storytelling—whether through Lincoln's stoic posture or Booth's jittery, restless energy.

This production's design elements work perfectly to enhance the storytelling. Nicholas Grave's set is realistic and symbolic, capturing the brothers' small, suffocating apartment in intricate detail. The space feels lived-in and worn, a visual metaphor for the characters' entrapment in their circumstances and their shared history. The clutter and decay of the set mirror the emotional baggage that the brothers carry, creating a visual layer of tension that permeates the production.

Lighting design by Bryan Ealey is a standout feature, seamlessly shifting to reflect the scene's mood. Subtle shifts in light heighten moments of intimacy or conflict, while harsh, stark lighting underscores the emotional weight of the play's most intense moments. The transitions are smooth yet impactful, drawing the audience deeper into the world of the play.

Sound design by Robert Leslie Meek is equally effective, with music and ambient noise punctuating key moments and adding texture to the production. The carefully selected soundscape feels almost like another character, enhancing the tension or offering brief moments of respite. The rhythmic beats during scene changes amplify the play's energy, subtly reminding the audience of the constant undercurrent of unpredictability.

L.A. Clevenson's costumes complete the picture, offering subtle yet telling details about the characters. Lincoln's Abraham Lincoln costume—worn for his job impersonating the president in a tourist attraction—becomes a striking symbol of his internal conflict and fractured identity. Booth's clothing reflects his attempts to project confidence and swagger, with sharp details that hint at his aspirations and insecurities. Like the rest of the design, the costumes serve the story while feeling grounded and authentic.

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