The role of Pops fits Montae Russell as though it were written for him. He bears his suffering like a lead character in an August Wilson play—and indeed he is a noted Wilsonian, having performed in the entire cycle of his ten plays about African-American life decade-by-decade throughout the 20th century. His suffering has sharpened Pops’s character. What he cannot squeeze out of the city in a final payoff he will secure by any means necessary, in a form of “reparations” for the white man’s mistreatment of him and his family. He also pays back the grace he receives in an entirely unexpected way that will have students of the drama debating and discussing for decades to come.