This is what you see when you walk in: two men sitting on a traffic island. They are already onstage as you take your seat. This traffic island is where the show begins, and it's where the show—80 minutes long, no intermission—ends. Everyone who sees or reads Pass Over compares it to Waiting for Godot, and it's an apt comparison, but with all due respect to Samuel Beckett, in Pass Over, things actually happen. What happens? It's better knowing nothing going in, so I'm hesitant to tell you. Let's see how well I can dance around that issue. New York playwright Antoinette Nwandu has done something incredibly difficult, creating two protagonists—Moses and Kitch—who are many things at once: individuals standing on a street corner, figures representing the universal experience of black men in the United States, and characters who seem lifted out of time (though they are in the present, they also seem to belong to 1855, or 13th century BCE). by Christopher Frizzelle