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.
These aren't small inconsistencies, nor are they rare, and despite Leon's fluid direction and the robust performances, they keep the play from coalescing into the fully realized family drama it might have been. But as a cri de coeur, from a mother, for her child, for others like him, for her country, American Son screams just as loud as it should.
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.
2018 | Broadway |
Original Broadway Production Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2019 | Drama League Awards | Distinguished Performance Award | Kerry Washington |
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