‘Topdog/Underdog’ Is the Sharpest Show on Broadway

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‘Topdog/Underdog’ Is the Sharpest Show on Broadway
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Corey Hawkins and Yahya Abdul-Mateen give superlative performances in “Topdog/Underdog”—the standout of this current Broadway season so far: energetic, witty, mischievous, searing, tender, and vulnerable.

—and their expectations of audiences’ posterior comfort and attention spans—are so scattered these days. We are getting used to sitting past the usual 90- to 100-minute mark towards two hours and sometimes more., directed by Kenny Leon, is a brilliant, electrifying piece of theater for many reasons. One of those is, at around two hours fifteen minutes, while it could reasonably expect its audiences to sit for its duration, its structure imposes an interval at the best moment.

All we see of the men—bantering, being sweet, bickering, planning, dreaming, interrogating, infuriating, pacifying, angering—is in the room, with its one bed. They are’s Vladimir and Estragon, who want something to change—money to escape poverty, ambition to vault them somewhere new—who possibly want to say goodbye to one another, who are desperate to be somewhere else, who want to leave through that door. Yet they remain yoked together, unable to separate, unable to bid farewell.

Lincoln and Booth both know the irony of a Black man dressing up as the “Great Emancipator” in the service of breadline work today. This is honest work, Lincoln insists. Booth replies: “Dressing up like some crackerass white man, some dead president, and letting people shoot at you sounds like a hustle to me.”

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