Haunted by his own family’s Jewish traditions, Tony Kushner talks with his friend Michael Mayer, to whom he also dedicates the play, about the traditions of Passover as they prepare for the holiday together. During their conversation, they discuss the holiday’s tradition and how it impacts the Jewish community today. Passover means “to pass over” and refers to the religious festival celebrating the liberation of the Hebrew people from slavery in Egypt, as described in the biblical book of Exodus, marking a period of transition and freedom. Tony steers the conversation toward the fact that the plagues and the countless rabbis are generally omitted (likely due to disgust and hunger), that is, passed over. However, the crux of this short play lies in what is most important to the playwright: “The fear of skipping, of cheating, of eliding, effacing, passing over with many a great sigh the imponderably weighty inheritance of millennia of Jewish intellectual, theological, political, historical, mystical effort” (Kushner 256), “the entropic cooling down unto Death” (Kushner 257) and its metaphors when the enslaved freedom “only commences the wandering of the now-homeless. The freed slave is still unfree. (…) The Exodus is also an affliction” (Kushner 258). And it is stemming from this metaphor that I intend to structure this essay in a dialogue amongst José Esteban Muñoz’s idea of the quest for utopia in Cruising Utopia (2009), Jorge Dubatti’s philosophy of theater in The Theater of the Dead (2016), Ira Steingroot’s account of Passover in Keeping Passover (1995) and James Fisher’s very short essay “Strategies of Resistance: Notes on Akiba”, in which he states that Kushner “depicts existence and death as a journeying, not necessarily to a reward, but, in itself, s strategy of existing, of finding meaning, of surviving” (178). And it is in the metaphor of the survival of tradition that we find the ghosts (or in the crossroad between life and death).