Every once in a while, one comes across a performance that may even outweigh the play it takes place in. In this case, a good play becomes greater because of one person who takes a playwright’s words and their own and their director’s understandings and makes of them something much more than the sum of those parts.
This is Phylicia Rashad in “Head of Passes,” now at the Mark Taper Forum.
In Tarell Alvin McCraney’s modern spin on trials worthy of Job, a woman’s plans for a quiet...