‘AMERICAN SON’: (left to right) Kerry Washington, Steven Pasquale & Jeremy Jordan. Photo: Peter Cunningham

AMERICAN SON
Written by Christopher Demos-Brown
Directed by Kenny Leon
Through January 27, 2019
Booth Theatre
222 West 45th Street
(212-239-6200), www.americansonplay.com

By David NouNou

Topical and timely, American Son shows the disparity, anguish and complexity of an unexplained incident involving a teenager and the intense impact on his parents as they await answers.

Set in present-day Miami, Florida at 4:00 AM on a stormy night in a police station waiting room, Kendra Connor (Kerry Washington) is anxiously waiting to get any form of news on her missing son Jamal. Kendra is being placated by Officer Paul Larkin (Jeremy Jordan) by being evasive, tolerant but ingratiating. She is desperate and often belligerent due to the lack of any real forthcoming information.

In walks Scott Connor (Steven Pasquale), an FBI agent and Kendra’s estranged husband. In no time at all Officer Larkin—thinking agent Connor is heading the case of the missing teen—divulges all the information that Kendra has been desperately asking for. Larkin berates Kendra to Connor, only to find out that Kendra is his wife and Jamal is Connor’s son as well. The triangle here is Kendra is an African-American woman with a white husband and in the middle is white Officer Larkin.

From the onset we learn that Jamal is a well-educated, polite young man who, upon his father’s insistence, will be attending West Point Academy in the fall. From this point the play tackles myriads of issues: a biracial marriage, a black boy in an all-white high school, the boy’s confusion of which world he belongs in, and the revolt of the status quo of his family life. There is also the issue of how a desperate black woman can’t get any information on her missing son, while her white husband is handed the information without even asking for it. In turn, this makes everything in Kendra and Scott’s marriage topsy-turvy, with each seeing things from their own standpoint.

Finally, Lieutenant John Stokes (Eugene Lee) comes to sort things out, only to have Scott arrested for assault and refusing to cooperate with the law for wanting information on his son. Scott is taken away and Stokes sits Kendra down and gives her the facts of the situation. Stokes is an African American himself and knows how the system works.

The exceptional performances of the four people involved raise the bar here. Kerry Washington displays a wide range of emotions, from rage and aggression to anger and submission. Her tears are genuine because what she feels is raw and real. Steven Pasquale has never been better. He plays a conflicted father—who only knows right from wrong and good and bad—but is now caught in the crossfire of a rebelling son. His outrage at the system and how it treats people is a highlight in his career. The chemistry between Ms. Washington and Mr. Pasquale is palpable because it is so real.

Jeremy Jordan is very good as the affable Officer Larkin, with nothing more to do than be ingratiating. The real scene-stealer here is Eugene Lee, as the lieutenant who indicts Connor and then tries to explain things to Kendra. Mr. Lee is top notch; there is so much strength and dignity to his performance that it solidifies the proceedings.

The proceedings may not feel all that new, but the story certainly reflects today’s grim news, and the evening of sterling performances grounds the show to sustain one’s interest. It might make some people uncomfortable, but if you are a theater lover, you should put this down as a must-see show.

Edited by Scott Harrah
Published November 8, 2018
Reviewed at November 7, 2018 press performance.

‘AMERICAN SON’: Kerry Washington & Steven Pasquale. Photo: Peter Cunningham

‘AMERICAN SON’: (left to right) Kerry Washington, Steven Pasquale & Eugene Lee. Photo: Peter Cunningham.

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