A Florida police station in the middle of the night. Two parents searching for answers. AMERICAN SON is a gripping tale about who we are as a nation, and how we deal with family relationships, love, loss, and identity.
We don't get many ancient Greek tragedies on Broadway. Tastes have changed, and what we think of as dramatic has shifted into different patterns. So Christopher Demos-Brown's American Son seems like a play from another time. It basically consists of two-person arguments, interspersed with messenger speeches: Something has happened offstage, and we wait with the characters to find out what it is. The rhetoric is heavy-handed, the grief and fear are unremitting, the brushstrokes are asphalt-thick, and there's no subtlety in either the characterizations or the narrative structure. In other words, Demos-Brown hasn't written a particularly skillful modern drama. But when the fate of a nation was at stake, Euripides wrote plays like this too.
But though American Son has the superficial form of a classical tragedy and a scene of raw suffering that few tragedies can equal, it also has a creaky dramatic structure, shallow characterizations, naïve politics and indifferent writing. Directed by Kenny Leon, who has submerged his tendency to showboat in favor of a studied naturalism, it's a very powerful play without being an especially good one and that shouldn't matter - power being hard to come by - but sometimes it does.
2018 | Broadway |
Original Broadway Production Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2019 | Drama League Awards | Distinguished Performance Award | Kerry Washington |
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