The time is 1896, and the ‘Separate But Equal Doctrine’ has just been upheld in the Supreme Court of the United States. This is the historic background of pen/man/ship, the live streamed latest from Molière in the Park, the same company that brought us the playful and good-natured Tartuffe back in June of last year. A Black American surveyor, steadfast in his convictions, has organized a ship’s crossing for him and his son to lead a secret expedition, one he doesn’t even want to talk about with his son. Bound for Liberia with his troubled son, he has rounded up a crew of men for the voyage, and much to his later surprise, a young Black woman named Ruby has been invited along by his son. The God-fearing father is clearly thrown off balance by this unspoken inclusion, but the son insists it was a necessary addition. She is in need, fleeing the oppressive American South in hopes of finding a new and better life in Liberia. She has decidedly boarded a ship bound for that breath of freedom that she so desperately wants, only she wasn’t aware that she would run into a different form of oppression and control onboard. The crew is skeptical of the goal, the journey, and the surveyor in charge, and because of all this, the sea air is tense with conflict. The shadows play out strongly before us with a cut-out intricity that only elevates the storyline, drawing us even further inside this inventive and complex live streaming of Christina Anderson’s riveting maritime drama, pen/man/ship. Within its wise reflective stance, the production finds its solid sea legs with confidence, strongly orchestrating the adventure using technology that both seems to reckon back to the time of shadow plays and puppetry, while also finding a modern seamless interactiveness that is both clever and refreshing, particularly in this complex socially-distanced time this production was created within.