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It took a few minutes to get acclimated to being … delighted.
As I relaxed, though, I finally saw the uncanniness flickering around the edge of the show.
Formal experimenters, long-process devotees, deep thinkers the Woosters never make pieces with clear outlines.
Director Elizabeth LeComptes slow-build, multimedia methodology tends towards the mash-up.
Some of the theaters video monitors face the performers and not us.
Is all that peripheral, invisible ephemera part of the play?
Yes, no, sort of?
But whether we see thisOort cloudof material or not, the sensation of an abraded fringe is there.
This mingled recorded-real composition is meticulous, musical.
LeCompte expands on the plays didactic mood.
(These seem to be re-creations of talks by Slavoj Zizek.)
I mean, that guyloveda label.
Its that synchrony thats delightful, that feels easy, that makes the play a pleasure.
The Motheris at the Performing Garage through November 20.
