The stories unfold side by side. They are fluidly directed by Seth Rozin on a stage decorated with two enormous flag-scrims, one American and one Soviet, and little more. While Misha's story is told in linear fashion, Eugene's is conveyed randomly. Scenes are sometimes memories, sometimes visions and at other times illustrations. It's a brilliant way to paint in the substance of a father-son relationship.
Gibbons uses parallels poignantly.
The play opens with both men arriving at the desk of skeptical customs officers, Eugene in Leningrad, Misha in New York. But Gibbons is not a slave to the parallelism. He also has a point of view, and isn't about to shrink from it. These are among Black Russian 's strengths, which combine to make it a moving as well as illuminating experience. The father and son are at the center of this nine member cast, and perform with exceptional depth.