But when viewed in our current political climate and the urgency of racism, sexism and climate change, its lack of clarity can also feel like a luxury. It can be a play about everything, including but not limited to death, religion or friendship. One of the challenges for me with “Godot” has always been its ambiguity. So began our tête-à-tête, a lively exchange about our first encounters with that existential work by Beckett, Nwandu’s influence for her “Godot”-inspired play and her decision to change the play’s ending as it headed to Broadway. Without a second of doubt, Nwandu replied, “‘Godot’ is light.” “Your play makes ‘Waiting for Godot’ seem light,” I said, hesitantly, to the playwright Antoinette Chinonye Nwandu, whose “Pass Over” was the first play to open on Broadway in over a year. This article contains spoilers about the Broadway play “Pass Over.”
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