Ian Damont Martin directs the world premiere of Nathan Alan Davis’s post-everything meta intergalactic meditation on what it’s all about. Akwasi —on a bare stage save for a blinding, bare light bulb on a stand—tells the audience that theater’s dead and that he’s not an actor. He’s joined by Enoch , who has trouble accepting that premise because he very muchan actor, and then by Farah . Because maybe three is a better jumping-off point than two? It’s never explained. Nothing is.
Martin and his cast and crew clearly want to ask heartfelt existential questions. But with so little narrative underpinning or character development, the effect is of three actors flailing desperately in the dark. Not the metaphorical darkness of the apocalypse or systemic injustice, but the literal absence of light to shine the way in any direction at all.
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