Kitch and Moses seem stuck on their street corner, but it don’t matter. They joke, dream, and throw down about the promised land they’re heading to just as soon as they get up off the block—what they’ll eat, who they’ll see, whether today’s the day they’ll pass over. Allegorical and immediate, humorous and chilling, Nwandu’s collision of the Exodus saga and Waiting for Godot probes the forces that have marooned these young Black men, and the power and limitations of their personal resilience.
Searing, daring, blazingly theatrical, and thrillingly tense.
Antoinette Nwandu has a thing for getting lost. In an interview with American Theatre, she described how she writes by “creating a puzzle” for herself: “The process of building the play is figuring that puzzle out.” She draws connections across vast swaths of cultural narratives, through chronological and geographic dissonance. “One of my creative impulses is that I’m very drawn to the different ways that we create epic,” she explains.Read More
Moses and Kitch are waiting on a contemporary street corner. Or is it an 18th century plantation? Or maybe, they’re in Egypt in the 13th century BCE under the rule of the Pharaoh. The difference doesn't really matter to the two young men, who spend their days dreaming about what they’ll do, who they’ll be, what they’ll eat, and who they’ll see when they get off the block. At least, Moses is. Kitch is more than content just listening to Moses. They pass the time like anyone would: playing games like bang! bang!, fantasizing about collard greens and pinto beans, and awaiting their inevitable exodus to the promised land. Or just waiting. Waiting, aimlessly, under constant surveillance by either the police, the plantation owner, or Pharaoh. Maybe all the above.Read More