The fascinating choice to personify a weapon and its seductive powers works beautifully in this piece, as B-side realizes that he has no desire to kill anyone he dismisses Gun/Peggy Sue. He's like an addict trying to kick his power addiction, and sure enough he winds up carrying another piece of chrome before too long. Meanwhile, Black Man has picked up Gun/Peggy Sue and finally the two stories intertwine fully for a confrontation that is the only satisfying conclusion the story could take.- Josh Sherman NYtheatre.com
"Like mosaics built of broken glass, Pierre takes the language of the streets and builds it into deeply affecting images and metaphors that can't help but touch hearts"-Toronto Sun****
A rich ride to compelling places. the richness and compassion of the writing take Born Ready to some surprising, compelling places"-The Globe and Mail
"The play's potent mixture of violence and poetry work its own spell"
You see a man’s soul at 3am on a Tuesday. When the t.v’s off, sometimes one lit
candle, the scent of cigaweed, a glass of Sunny D. That’s when you see a man’s soul.
It’s not when he’s loud and boisterous. It’s not when he’s running crew deep. Dem
times it’s their energy that fuels him. Dem times he can fall back to the shadows.
You see his soul when he cant sleep, when there is no one but you and him. When
his face is either buried in the palms off his hands, or sunken into the table. I’ve
seen him, in silence, biting on his bottom lip, crying. The stillest thing just crying-