Gregg T. Daniel, a veteran director, actor, and educator, has taken the helm of “Topdog/Underdog” at Pasadena Playhouse, bringing a deeply personal and culturally resonant vision to Suzan-Lori Parks’ Pulitzer Prize-winning play.
Through the lens of two Black brothers navigating identity, power, and survival, Daniel said the play speaks to larger systemic issues affecting Black men and the Black community at large.
“I was pleased that we’re doing it because the themes in this play are still so relevant,” Daniel said. “Human beings have a need to instill worth in themselves, to see themselves valued, and this play is a reflection of that.”
The play follows Lincoln and Booth, two brothers whose names serve as a tragic irony.
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Lincoln impersonates Abraham Lincoln at an arcade, while Booth struggles to prove himself through hustling. Their relationship, marked by love, competition, and betrayal, reflects the struggles many Black men face—seeking validation in a world that often denies them agency.
Daniel worked closely with actors Brandon Gill and Brandon Micheal Hall to deepen their understanding of the brothers’ complex dynamic. He encouraged them to pull from personal experiences, asking, “Do you have a brother? Do you have a sister? What’s that relationship like?”
Through these conversations, the cast unearthed the emotional weight of the play’s themes—competition, loyalty, and the wounds of abandonment.
“We started talking about how even in fractured relationships, there’s a desire to reconcile,” Daniel said. “Even if you’re at odds with your brother, you still want his approval. And when you don’t get that approval, it hurts.”
The play also wrestles with the idea of performance—both literally and metaphorically. Lincoln’s job as a Lincoln impersonator is more than just a gig; it symbolizes the masks that Black men must wear to survive.
“We wear masks all the time in society,” Daniel said. “You have to know when to show your full self, when to pull back, when to assimilate, when to assert. Black men in America have always had to navigate that.”
For Daniel, this tension—between performing for survival and seeking authenticity—is one of the reasons the play remains relevant.
“It’s timeless,” Daniel said. “The struggles of these two brothers are the struggles of many Black men today, trying to define their worth in a system that often refuses to acknowledge them.”
Beyond the personal conflicts in the play, “Topdog/Underdog” speaks to systemic barriers that keep Black men from achieving security, whether economic, social, or emotional.
Daniel pointed to the illusion of control that both Lincoln and Booth cling to—Lincoln with his “legitimate” job and Booth with his attempts to master three-card monte, a street con game that he believes will bring him success.
“They’re trying to make it, but the system is rigged,” Daniel said. “It’s like playing three-card monte—you think you’re in control, but the house always wins.”
Daniel emphasized that this idea resonates beyond the play, touching on real-life obstacles that Black men face, from limited economic opportunities to societal expectations of masculinity. He spoke about the importance of breaking cycles of struggle and trauma.
“How do we lift each other up instead of trying to upend one another?” Daniel asked. “How do we create opportunities instead of waiting for them to be handed to us? That’s the real challenge.”
Daniel also stressed the importance of representation and mentorship in dismantling systemic barriers. He actively seeks to include people of color in all aspects of theater production, from directing to set design.
“Anywhere I work, I make sure to ask: How many people of color are on this team? What does our design team look like? How can we bring in more women, more underrepresented voices?” he said. “We have to be intentional about reaching back and pulling others in.”
He recalled his experience working on HBO’s “Insecure,” where he saw a shift in the industry.
“I’d walk onto set and see Black people in every department—behind the camera, in the writers’ room, producing. It was such an affirmation,” Daniel said. “It showed me that it can be done, but we have to make it happen.”
As an educator, Daniel carries this philosophy into the classroom, encouraging young Black artists to embrace their voices. Teaching, he said, is one of the most rewarding aspects of his career.
“I see these young people trying to find themselves, stumbling, getting back up, and it’s invigorating,” Daniel said. “It’s a reminder that growth is a process, and we have to create spaces where Black artists can develop without fear.”
With “Topdog/Underdog,” Daniel hopes audiences walk away with a deeper understanding of the struggles and resilience of Black men.
“At its core, this play is about love, loss, and the lengths we go to prove ourselves,” Daniel said. “I want people to see these two brothers—not just as characters, but as reflections of real-life struggles, real-life hopes, and real-life pain.”
Through storytelling, representation, and intentional inclusion, Daniel believes that real change is possible. “Each one, teach one,” he said. “Once you gain a foothold, reach back. That’s how we break the cycle.”
“Topdog/Underdog” runs at the Pasadena Playhouse February 26, 2025, through March 23, 2025. Tickets and more information can be found at www.pasadenaplayhouse.org.
