“FATHERS AND SONS contains many pungent exchanges, and a meaningful subject: the estrangement of fathers and sons through several generations of African-American men and how it might be healed. The omnipresent phantom Benard Goodwater is the bad daddy incarnate—a trumpet-toting, be-bopping ne’er-do-well, who serves as a jive Greek chorus. He was clearly a lousy father to his haunted son Leon. And Leon returned the disfavor to his own offspring Marcus, by becoming a coke-sniffing, child-neglecting womanizer himself. In FATHERS AND SONS, the two living relations, and the ghostly one, confront one another during a family crisis… Bradford’s dialogue can sizzle and sting, and he exhibits a real flair for sexy romantic banter. That gift is exploited in the more intimate, sensuous scenes… Clearly, the playwright wants to explore how a man like Marcus can overcome a legacy of parental neglect and misogyny to forge a committed marriage—and maybe even a reconciliation with his father.” Misha Berson, Seattle Times