Review: AMERICAN SON at Stageworks Theatre is a Striking Parallel to Our Current Timeline Wrapped in a Complex Narrative

"Race is the child of racism, not the father" (Between the World and Me, Ta-Nehisi Coates).

As the lights descend on the stage set on the inside of the Coral Gables Police precinct, not a sound is heard. With bated breath, I and the sold-out opening night audience awaited what was to be on display in a matter of seconds. At rising we see Kendra a woman alone in the police station, only the sound of rolling thunder is heard. Kendra anxious and silent, paces and sends a text message, lost in thought, lost in panic, in a world all too close to home in this present timeline we, like Kendra, fear the worst. Similarly, over the past two years, books have been written, protests have been done, all in support of one initiative, and Christopher Demos-Browns' script bears witness to the present struggle.

The story is a complex narrative set around one night/early morning in the Coral Gables precinct of Miami, Florida. At the start of the narrative, we meet Kendra, an African American mother alone in the precinct. Kendra a well-versed, well-educated Psychology Professor is pacing anxiously, and frantically trying to reach her son Jamal who has yet to return home from being out for the evening. In saunters Officer Paul Larkin a newbie to the field with dreams of becoming an FBI Behavioral Analyst. Paul Larkin is a by-the book no-nonsense type of officer. As Kendra frantically searches for answers we see Paul Larkins' unwillingness to provide her with anything outside his "lines of jurisdiction." After some back and forth, in walks Scott Connor an FBI agent, Jamal's father, and Kendra's estranged husband. When Larkin meets Scott the dynamic completely changes. Unlike Larkins' unwillingness to divulge information to Kendra about her son, Scott is a Caucasian male so the dynamic and the willingness to be more forthcoming has now become the centralized narrative of Paul Larkins' character arc.

We learn that three individuals were in a late model Lexus on the night of a "routine-stop." Scott learns from Larkin that all occupants of the vehicle were African American. A video is sent to Scott's phone of the "routine-stop." Rounding out the narrative is Lieutenant John Stokes. Stokes is the AM Liaison Officer for the precinct and Larkin earlier in the evening explains to the Connors that any further questions have to be directed to Stokes upon his arrival. Stokes is a veteran of the force as well as his country. He almost levels the playing field upon his arrival, and the dynamic flips once again. So many twists and turns make this story an unforgettable and complex narrative that is full of pain, as much as it is full of heart and an ending that will shell-shock you to the core. The cast delivers and everyone is at the top of their game.

Leading the cast is Andresia Moseley in the role of Kendra Ellis-Connor. Andresia who I have previously seen in Jobsite Theater's productions of John Patrick Shanley's Doubt, and Anna Deavere Smiths' Twilight: Los Angeles,1992, is in peak form here. She is every anxious mother when their child is missing, she is every divorcee when their husband is estranged, she is every working woman fighting for what's right, no matter the cost. So many emotional hills to climb in this role and Andresia scales to the top with pure finesse. Her previous role in Twilight: Los Angeles,1992 was helmed as the "Best Performance by an Actress in 2020," and with Kendra, she has secured that nod for 2021. This performance is a can't miss rollercoaster and we are in the front row waiting for the next emotional turn and 100% invested. A true masterclass performance by an Actress on top of her game, giving not only Kerry Washington a run for her money, but Mrs. Washington would be proud of her work done here. The only thing I will add is there are times where I feel Kendra could have been a little more frantic. This mother is pushed to her breaking point, and we as the audience want to feel that change.

Scott Connor is played exceptionally well by Ward Smith. This is the first time I have had the opportunity to see Mr. Smith grace the stage, and it was finite. From his delivery to every nuanced emotional turn, the audience was witness to a father steadfast in principles, love for his son, and his desperation for answers. Reminiscent of Tony Goldwyn in Scandal you see and feel the power in his every move. Even the estrangement between Kendra and Scott was effective. Kendra says it best, "Let's find our son and go back to our respective corners." For me what was the best part of Mr. Smith's turn as Scott Connor was not just his spoken lines, but the underneath layers in his character arc. Scott Still loves Kendra and wants the best for their son no matter the cost. It is in the passion you see lined in his face, it's the delivery of his dialogue and the struggle of power against the Officers that truly make this an exceptional turn. One of the most endearing moments in both Kendra and Scott's performances was when they reminisced about their first meeting at a party. Not only that first meeting but reminiscing about all the things they agreed on during their marriage. "The importance of hard work.Frugality.Respect for our elders. Uhhh...bourbon Manhattans at dusk out on the patio....the morning J was born was the best day of our lives." I am looking forward to seeing Mr. Smith grace the stage again soon, but as for his role as Scott Connor a true tour de force and one that needs to be seen.

Blake Halloran is a fine performer and his Officer Larkin is well displayed here. Proving to be a no-nonsense by the book officer his Larkin is under pressure and bubbling at the surface. Kind of the "Patsy" character of the show you hate him for all the right reasons. His delivery upon arrival of Lieutenant Stokes is a great turn for his character and shows off his acting skills. The dynamic struggle between what is right (by the book) and what is morally right is the driving force behind his performance, and Blake should be commended for his turn as the not so likable Officer Larkin.

Aaron Washington plays the effective Lieutenant John Stokes. Small in stature, he makes up for it by his commanding performance as the Lieutenant. I have several times over witnessed Mr. Washington's talents behind the director's chair, but here is my first witness to his talent on stage. For me, Stokes' character has the hardest job here. He knows the ins and outs of his job but has to remain collected when everything else falls to shambles. Emulating a more recent Denzel Washington performance in The Little Things, we see a cop who's worked hard for his status and wants to keep it that way. Mr. Washington delivers a nail-biting performance that is exceptional on all levels. One of my favorite lines in his delivery to Kendra is, "...Oh and sistah...Next time you call a Black man a Tom? It'd play a whole lot better if that Black man didn't just drag your White husband out of the room in handcuffs." Mr. Washington is gruff when he needs to be, comedic at times and it's a joy to watch I cannot wait to see him on stage again.

Fanni Green and the wonderful folks at Stageworks have delivered a top-notch, no-holds-barred performance with Christopher Demos-Brown's compelling script. Fanni's smooth direction emulates every facet of this performance. Never rushed and exceptionally sharp in every moment you feel for each character on the stage. Fanni even took the play and thrust the story into our current climate with the addition of masks, especially in the scenes in which the Officers are involved. When it is just family on stage, the masks come off. A welcomed parallel to the lives in which we currently live. Director Fanni Green and the cast truly understood the magnitude and importance of this piece and delivered a show that will be remembered for time to come. A testament to a strong performance of possibly one of the strongest narratives to come out of Contemporary Theatre to date. Fanni said it best in her Director's Note by saying, "The lines repeated at the end of the play, for me, metaphorically articulate the present moment of our American History...I ask you after the bows have been taken and you depart this simulated realism, do you think the lines at the end of the play are a final report about our American Condition? Or might they serve as a moment of assessment, before we...Do what?"

Frank Chavez set works well for the realm of the show, it's functional and doesn't distract from the delivery of the play. Chloe Mastro's paint design lends well to the cold feeling of the inside of a precinct. For me, the colors were calming which made for a great juxtaposition against the dramatic material laid in the script. Marilyn Gaspardo Bertch's costume design worked well for the piece. It is a contemporary piece and the costumes are displayed here appropriately. Karla Hartley's sound and light design worked well here down to the sound of text messages on the phone. Technically sound in all areas the team at Stageworks once again proved top-notch.

Folks I'm here to tell you, American Son, at Stageworks, is not a show you "Want" to see, but rather a show you "Need" to see! From the moment the lights rise to the moment the lights fall you are plunged headfirst into one of the most compelling and emotional rides displayed in Contemporary Theatre. Cathartic from beginning to end the magnitude of this performance, this script, these actors is as close to a story about Human Condition that we can get. The lines at the end of the play alone are worth the price of the ticket! When a compelling, challenging, and moving script comes on display and is brought forth by an exceptional team of artists like thus displayed here a truly magical and unique thing happens. You suspend your disbelief, you leave your life at the door, and you become 100% invested in the story before your eyes. That is truly the magic of theatre; when you can find that escape in the story of someone else...there is nothing better. Live theatre is coming back, and arriving in a Big, Bold Way. Do not hesitate, run, stop what you're doing and purchase a ticket to see this powerful piece. A perfectly displayed narrative that is perfectly timed in today's current climate, and one not to be missed.

American Son is being presented live on stage at Stageworks Theatre complete with Social-Distanced Protocols through March 28th. Please visit stageworkstheatre.org for tickets.

Photo Credit: Stageworks Theatre

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