Theater is about moments like the one represented in this picture. Unfortunately, this singular snapshot is one of the few things Doppelganger gets right: the rest of Emanuel Bocchieri's direction uses a new technology developed by Feed the Herd at 3LD to randomize cues based on human interaction. In other words: every show has the potential for gripping imagery, or just a lot of dead time on stage and awkward interactions between actors (none of whom are that good in this production). Simon Heath has good set pieces--a sleep lab, a cluttered apartment--and some tangible, albeit science-laden, ideas, but none of it comes together so much as in the one picture above. The rest of the show is this moment's double, its doppelganger, and the play is as far from transcendent as it gets.
Wednesday, June 27, 2007
Doppelganger
Theater is about moments like the one represented in this picture. Unfortunately, this singular snapshot is one of the few things Doppelganger gets right: the rest of Emanuel Bocchieri's direction uses a new technology developed by Feed the Herd at 3LD to randomize cues based on human interaction. In other words: every show has the potential for gripping imagery, or just a lot of dead time on stage and awkward interactions between actors (none of whom are that good in this production). Simon Heath has good set pieces--a sleep lab, a cluttered apartment--and some tangible, albeit science-laden, ideas, but none of it comes together so much as in the one picture above. The rest of the show is this moment's double, its doppelganger, and the play is as far from transcendent as it gets.
Did we see the same show? I am flabbergasted by your pedantic smackdown of what is a remarkable theatrical experiment.
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