Categories
Theater Theater Feature

Theatre Memphis stages a screwball classic.

It would seem that Kaufman & Hart’s barb-laden comedy, The Man Who Came to Dinner, is woven into the tapestry of Theatre Memphis’ identity. It’s the last play the company staged before leaving its old digs inside the Pink Palace pool house and moving into the custom-built space on Perkins Ext. In 2002, as the company attempted to re-ground itself under new leadership, the screwball comedy was revived, with several original cast members returning to perform. Now, as Theatre Memphis preps for an abbreviated 100th season, and a round of major innovation, Sheridan Whiteside — an unforgettable character inspired by celebrity critic Alexander Woollcott — is back in the spotlight, and as petty and domineering as ever. It’s a first-rate production, too, with Jason Spitzer starring as the titular man. But I’ve got to admit, I don’t entirely get it.

As a fan of the author’s, and to a lesser extent, the play, I didn’t really get the point of reviving this gossipy, name-dropping tour of vintage celebrity culture 17 years ago, and it’s not like the material is any fresher today. Still, it’s a clever thing and expertly staged. The Man Who Came to Dinner is an archetypal romantic comedy dipped in satire, but for maximum enjoyment, more than a little cultural literacy is absolutely required. That’s not a bad thing, but those not dialed into Woollcott’s world of the rich and famous may sometimes feel left out of the conversation.

Come in and stay awhile.

There’s not much plot to The Man Who Came to Dinner, but so much goes on it can be difficult to keep up. Guests drop in and out. Thousands of cockroaches escape their enclosure. A wacky penguin rampage adds to hilarity. It all begins with a fall Whiteside suffers while visiting a private residence for dinner. The mouthy critic is misdiagnosed, told not to leave the house and to move as little as possible until he’s better. So, sparing no pomposity or expense, he proceeds to take over his host’s suburban home and ruin his secretary Maggie’s romance for fear that she’ll leave him.

Spitzer, who starred in The Drowsy Chaperone at Theatre Memphis, seems to be specializing in “man in chair” roles. This time around, his chair has wheels, but if you liked Spitzer in the musical, you’ll love him for similar reasons here. Kinon Keplinger is likewise fine as a stand in for British playwright and showman, Noel Coward. The same goes for Emily F. Chateau, as Whiteside’s indispensable assistant and confidant Maggie, and Jai Johnson as Lorraine Sheldon, a lovestruck starlet looking for a good script. The whole ensemble is first rate, with several terrifically quirky character turns by local favorites like Barry Fuller and Louise Levin.

One hundred years is a long time, and a little comfort food in the face of change may not be a bad thing at all. Even if The Man Who Came to Dinner doesn’t have much to say in 2019, it doesn’t say it with gusto and real panache. And maybe, for a community in mourning, there’s more going on at Theatre Memphis than meets the eye.

Beloved Memphis actor John Rone’s first performance at Theatre Memphis was in The Man Who Came to Dinner, prior to its move to Perkins. He also performed in the revival, where, during a blistering Memphis day, he famously quipped, “If you think it’s hot up there now, wait till I do my number in act 2.” Rone, who recently retired from Rhodes College after 40 years of service and who died earlier this year, was also a director, and committed fan of Memphis theater. On Saturday, April 27th, a group of Memphis actors walked onto the set of The Man Who Came to Dinner to share stories about Rone and memorialize him with scenes from past productions. The house was packed for the perfect sendoff. He truly was “the man,” and whether it’s your cup of tea or no, TM’s latest take on The Man Who Came to Dinner is every bit as elegant and wicked as he was.

The Man Who Came to Dinner is at Theatre Memphis through May 12th.

Categories
News The Fly-By

Fly on the Wall 1575

Neverending Lawler

Anticipating the opening of Avengers: Endgame last week, Memphis wrestling icon/comic book fan Jerry Lawler tweeted a picture of himself wearing Thanos’ Infinity Gauntlet.

Now, with the snap of his fingers, Lawler can pile-drive half the comedians in universe. That’s a super gimmick.

Neverending Gannett

Gannett Co., owner of The Commercial Appeal, may have scored a victory in its fight to fend off a takeover by MNG, the hedge fund-owned media ownership group run by Alden Global Capital.

MNG, a minority Gannett stakeholder, recalled three of the six board members the company ran for election to the Gannett board of directors. An article in the Gannett-owned USA Today said MNG’s move means it could not control Gannett’s eight-member board, “even if its candidates are elected.”

Tech and media analyst Chuck DelGrande said in the story the “smart money would conclude” that Gannett has prevailed in its effort to resist the takeover attempt. Companies like MNG have inspired changes in the industry like the consolidation of business operations, regional hubs for editing and layout, selling off physical assets like presses and real estate, and more.

Gannett shareholders, who may yet be tempted by MNG’s history of cutting its way to double-digit profits, will vote on new board members May 16th.

Categories
Fly On The Wall Blog Opinion

How Corporate Ownership Changed Memphis Media

Storyboard/WYPL

I recently visited WYPL FM for a conversation about Memphis media with Storyboard Memphis publisher, Mark Fleischer. Though the interview was inspired by Going to Pieces, a Memphis Flyer cover story about the state of print media in Memphis, we stumbled down some deep rabbit holes in a detailed account of how daily newspapers like The Commercial Appeal lost revenue, relevance, and readers they are unlikely to reclaim. 

I’m honestly not sure that I ever really answered any of Mark’s questions, but we cover a lot of history, and context that’s not addressed in the original reporting so I wanted to flag the interview for interested readers. 

SB 30 Episode 9: Chris Davis of the Memphis Flyer

For our show April 28, we sat down with journalist Chris Davis of the Memphis Flyer and took an in-depth look at the current landscape of the print newspaper and how we got here, based in part on Chris’ great reporting for his Flyer series Justice in Journalism, and his March 14, 2019 story ‘Going to Pieces’ (link below).

How Corporate Ownership Changed Memphis Media

Categories
Intermission Impossible Theater

Radical: Tennessee Shakespeare Gets Active, Playhouse Gets Orwell + More

Twelfth Night

“Nation-wide, it is a period of radical absolutism: unapologetic racism, anti-Semitism, and sexism among a population and leadership struggling with the pervasiveness of one religion (over science) and fighting to prevent immigrants from entering its borders. The government is widely suspected of collusion with foreign adversaries while its own citizens’ rights are drained of protection,” so begins the synopsis to the Tennessee Shakespeare Company’s regional premier of Speak What We Feel, a  compiled script subtitled, Shakespeare’s radical response to a radical time.

While the setup may sound familiar, the place that’s being described is Elizabethan England. TSC founding director Dan McCleary will be joined onstage by Stephanie Shine, Darius Wallace, Merit Koch, Blake Currie, Nic Picou, Carmen-maria Mandley, and Shaleen Cholera. Together they will explore Shakespeare’s “radical response,” to all these things and more.

Speak What We Feel employs scenes from Richard III, Measure for Measure, Julius Caesar, As You Like It, Coriolanus, The Tempest, Merchant of Venice and Othello.

Here’s a video of McLeary talking about Speak What We Feel:

Radical: Tennessee Shakespeare Gets Active, Playhouse Gets Orwell + More

2+2=5

While we’re on the topic of radical things, 1984 continues at The Circuit Playhouse this weekend. From the review: 

“Adaptations give us a chance to explore specific narrative threads and shine new light through old windows. In this case, exposing the audience to low grade torture techniques by way of flickering or flashing light, grating inescapable sound, triggering imagery and making us all hold our pee through the intermission-free show, drowns out a more interesting theme struggling to escape a relentlessly bleak event’s sadistic gravity: Are our heroes, villains, allies and enemies all fictional constructs? Have they always been? By the time this idea expresses itself in dialogue, we’re, once again, too agitated to see the elusive bigger picture. Maybe that’s also the point.” [MORE]

And while on the subject of Shakespeare, Twelfth Night continues at Theatreworks.
From the review: 

“If you want some measure of just how good William Shakespeare was on his best days, look no further than the New Moon Theatre Company’s gag-packed production of Twelfth Night, a romantic comedy teetering at the edge of farce. Jokes can be fragile things, losing their punch with time, as sensibilities evolve. But 418 years after he wrote it down, Twelfth Night’s jokes still land on their feet, and stumble hilariously into pratfall. This latest revival is curiously uneven but still bursts with life and laughter at TheatreWorks.” [MORE]

Those in the mood for something a little less radical and/or Shakespeare related may want to drop in on a completely different kind of classic. Theatre Memphis is staging George S. Kaufman and Moss Hart’s comedy The Man Who Came to Dinner.

Via Theatre Memphis

“Sheridan Whiteside’s fall while dining at the home of prominent socialites makes him an unexpected guest for six weeks of recovery. The hosts, however, are most in need of recovery as Whiteside invites in the glamorous and famous as a three-ring circus of comic chaos grows to include a luncheon for homicidal convicts and a complete children’s choir.”

Whiteside is a critic, naturally, and based on Alexander Woollcott, the ostensible leader of New York’s Algonquin Round Table. Whiteside’s played by Memphis actor and director, Jason Spitzer. 

Spitzer v Woollcott

Categories
Fly On The Wall Blog Opinion

Choosing Choice: The Great School Voucher Deception

Except for conversations about a woman’s right to control her physical destiny, “choice” is a popular word among Conservative politicians and policy makers. For the businessman, it’s a near synonym for freedom, and something Rhetoric professors might call a “god word,” with high propagandistic value. “Choice,” is the banner word on The Beacon Center of Tennessee‘s page advocating for Educational Savings Accounts, like Governor Bill Lee’s re-branded and Tennessee House of Representatives-approved school voucher program. In a similar vein, fear of losing the ability to “choose healthcare providers” is key to most narratives opposing anything approaching universal healthcare coverage, just as it was when the same Beacon Center took credit for defeating medicaid expansion in Tennessee.

“While stopping the expansion of Medicaid under Obamacare was a necessary first step, it is still our responsibility as Tennesseans to find affordable healthcare solutions for our most vulnerable neighbors,” Beacon CEO Justin Owen told media. Instead of Medicaid access, Beacon supported  “right-to-try” legislation, allowing terminally ill patients access to choose certain unapproved FDA treatments. A Trump-backed Federal “right to try” bill was signed into law in 2018. As noted in The Atlantic, the catchy name and promise of personal autonomy disguised a decreased ability for people who aren’t medical experts to determine if treatments were effective or safe. 

If you don’t know The Beacon Center of Tennessee, previously called The Tennessee Center for Policy Research, they self-describe as “an independent, nonprofit and nonpartisan research and educational institute.” They’re the group that “exposed” former Vice President Al Gore’s energy use as part of an effort to counter “climate change alarmism.” They’re also affiliated with a right-wing cut-and-paste legislation web called the State Policy Network. It’s one of those places where movements to preserve and expand “choice” by way of free market insurance and publicly subsidized private schools are born. Tennessee’s decision not to expand medicaid didn’t make anybody more free, it put families at risk. Around 71,000 children were left without coverage. Now that Tennessee has moved a step closer toward embracing Education Savings Accounts (aka vouchers), another “choice”-forward initiative from the sewer of America’s policy factories, it’s important to understand how the word is paradoxical and may not always mean what it seems to mean.

Fred Hirsch, a former professor of International Studies at the University of Warwick, wrote about the limits of choice. In his book The Social Limits of Growth, he showed how choice can’t be made available to everyone, no matter how clever we get with technology. This is particularly true in regard to superlatives; the best doctor, for example, or the best teachers. This sounds elitist at first, but means and privilege only mitigate the effects of scarcity, they can’t erase the fact of it. Hirsch calls these troublesome things “positional goods,” and Barry Schwartz, the  Dorwin Cartwright Professor of Social Theory and Social Action at Swarthmore College, expanded on the concept in The Paradox of Choice: How the Culture of Abundance Robs us of Satisfaction.

“We might all agree that everyone would be better off if there were less positional competition,” Hirsch wrote, swimming against conventional wisdom that competition is good in every case. “It’s stressful, it’s wasteful, and it distorts people’s lives.”

“Parents wanting only the best for their child encourage her to study hard so she can get into a good college. But everyone is doing that. So the parents push harder. But so does everybody else. So they send their child to after-school enrichment programs and educational summer camps. And so does everyone else. So now they borrow money to switch to private school. Again others follow.”

Sometimes the supply of positional goods just runs out — There are only so many spots in the best teacher’s classroom. Value also decreases as the result of overcrowding. Schwartz illustrates his point with a metaphor made for sports fans:

“It’s like being in a crowded football stadium, watching the crucial play. A spectator several rows in front stands up to get a better view and a chain reaction follows. Soon everyone is standing just to be able to see as well as before. Everyone is on their feet rather than sitting, but no one’s position has improved.”

 Those not standing, by reason of choice or inability, might as well be somewhere else, Schwartz concludes. They aren’t in the game.

Whatever you choose to call them, voucher systems aren’t a new idea. The University of Chicago’s Nobel Prize-winning economist Milton Friedman wrote about the role of government in education in 1955, and choice advocates have been inspired by his arguments ever since. He determined that government should fund schooling. It should not run schools. Friedman advocated vouchers as a means of increasing freedom through choice in the marketplace.

Educational policy analyst Diane Ravitch related this history in her data-laden 2010 mea culpa, The Death and Life of the Great American School System. While working on national education policy for President George H. W. Bush, Ravitch had gotten caught up in choice mania, but came to regret it. Advocates of voucher systems and charter schools, “were certain choice would produce higher achievement,” and “reduce the rising tide of mediocrity,” she wrote. The collected data told a conflicting story. After reviewing the 20-year history of a voucher program in Milwaukee, Ravitch determined “there was no evidence of dramatic improvement for the neediest students or the public schools they left behind.” As with the football stadium metaphor, everybody moved, but nobody’s position really improved.

“Business leaders like the idea of turning the schools into a marketplace where the consumer is king,” Ravitch wrote, taking on presumptions that choice and competition are necessarily a public good. “But the problem with the marketplace is that it dissolves communities and replaces them with consumers. Going to school is not the same as going shopping. Parents should not be burdened with locating a suitable school for their child. They should be able to take their child to the neighborhood public school as a matter of course and expect that it has well-educated teachers and a sound educational program.”

Schwartz concludes that the scramble for positional goods creates what’s commonly called “the rat race.” That’s expressed here as “the burden of locating suitable schools” in a sea of “buyer beware.” That parents cannot “take their child to the neighborhood public school as a matter of course and expect that it has well-educated teachers and a sound educational program” isn’t a failure of teachers or public school systems or the communities where public schools are located. It’s an enduring expression of political and economic will backed by an unwarranted faith in market-based solutions.

“When people have no choice, life is almost unbearable,” Schwartz wrote in The Paradox of Choice.

“As the number of available choices increases, as it has in our consumer culture, the autonomy, control and liberation this variety brings are powerful and positive. But as the number grows further, the negatives escalate until we become overloaded. At this point choice no longer liberates, but debilitates.” 

That’s the problem with punishing and stigmatizing needy schools and pumping public education money into private markets. Or, as Ravitch put it, “With so much money aligned against the neighborhood public school and against education as a profession, public education itself is placed at risk.”

That absolutely seems to be the goal. 

Categories
Theater Theater Feature

Shakespeare meets the Beatles, 1984 meets 2019.

If you want some measure of just how good William Shakespeare was on his best days, look no further than the New Moon Theatre Company’s gag-packed production of Twelfth Night, a romantic comedy teetering at the edge of farce. Jokes can be fragile things, losing their punch with time, as sensibilities evolve. But 418 years after he wrote it down, Twelfth Night‘s jokes still land on their feet, and stumble hilariously into pratfall. This latest revival is curiously uneven but still bursts with life and laughter at TheatreWorks.

Director John Maness’ concept may result in deja vu for area theatergoers. Though the costumes lean Regency, the conceit is Elizabethan, and a set designed to resemble the Globe or Blackfriars Theatre. So in many regards, it’s exactly like every Tennessee Shakespeare Company production since the full-time classical company moved into its new East Memphis home. Original recipes are never a bad choice, but New Moon has always been a company one could count on for variety.

The story goes like this: In a world of beggars, bon vivants, and pranksters, Duke Orsino’s charming servent Cesario (really Viola, a shipwrecked twin dressing like a man), pursues the Lady Olivia on his/her master’s behalf. Things go awry.

A few actors struggled with lines at opening, and at least one principal seemed to be performing in an intimate film while everybody else chewed the scenery and played to a much larger house. But when it was on, this Beatles-enhanced stumble past love and death endeared itself to the crowd, with a dash of improv and an abundance of good fooling.

Twelfth Night is at TheatreWorks through May 5th.

What’s the purpose of noise? In propaganda, it’s an effective tool. Noise and competing facts disrupt, confuse, and numb us until basic self care — not even preservation — becomes a mighty instrument of control. It’s slow, low-impact torture, but the cumulative result is stunningly effective. I’m leading with this because weaponized information is a fact of modern life, and the major theme explored in Robert Icke and Duncan Macmillan’s recent adaptation of George Orwell’s landmark novel, 1984. As the story veers away from Winston and Julia’s secret romance in a paranoid society, this interpretation evolves into an academic lecture on the art and science of manufactured reality.

Projected fields of text against gray, Bauhaus-inspired set pieces are as stunning as Orwell’s ever-prescient words: “War is peace, ignorance is strength, freedom is slavery.” All these layers create a visually remarkable environment at odds with itself. Carter McHann’s anxiety-inducing sound design proves almost too effective. Propagandists benefit when the crowd numbs out, actors not so much.

Director Courtney Oliver wrestled this minimal but tech-heavy show into a matter of substance and clarity. Her cast is grounded, resulting in humane performances led by Danny Crowe as the show’s protagonist, Winston Smith. Even when the text gives actors only a note or two to blow, they blow them fearlessly. Oliver’s prudence is also evident in an avoidance of contemporary political tropes. She navigates the storm of projected information and noise, letting the adapted work speak for itself.

Greg Boller goes sleazy as O’Brien, the inner-party member posing as a gateway to the resistance. Boller delivers a solid crash course in gas-lighting and the mechanics of the long con.

Indirectly exposing the audience to low grade torture techniques — flashing light, grating inescapable sound, making us all hold our pee through the intermission-free show, etc. — drowns out a more interesting theme: Are our heroes, villains, allies, and enemies all fictional constructs?

As historic text, 1984 mocks us, predicting a “black mirror” environment of compromised privacy, nationalism, and weaponized mass-information. As a piece of contemporary theater, this version of the story is neither agitprop or entertainment. It’s an experience. Whether it’s pleasant or not may prove to be a subject of contention, and probably beside the point.

1984 is at Circuit Playhouse through May 12th.

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We Recommend We Recommend

Gangsta Walk Get-Together

It’s fun following Jaquency Ford on social media. Like Lil Buck, the Memphis-trained dancer whose reality-defying moves turned Jookin into a global phenomenon, Ford, aka Jaquency the Myth, is a tireless ambassador for Memphis dance culture.

Ford’s a master of the Memphis dance style that gave birth to Jookin, the Gangsta Walk. As he’s buck-jumped across America and the globe, teaching his style and working for community, Ford’s met and traded moves with lots of street dancers working in different styles. He’s invited some of his favorites to Memphis for the “Memphis Gangsta Walk Get-Together,” he’s subtitled “OG Poppers, Picnic Style.” It’s a free day of food and family fun at Ed Rice Park featuring kid stuff and games as well as dance battles, pop offs, artist showcases, and a Gangsta Walk finale.

Memphis Gangstawalk Get-Together

“It’s been fun, it really has, sharing knowledge and culture, and you’d be surprised by how many people want to know,” Ford says of his travels. “I’m doing a workshop in Vegas, and then I’m going to Osaka, Japan, to teach for three weeks.”

For the Gangsta Walk Get-Together, Ford’s bringing in dancers from Texas, New Orleans, D.C., and Baltimore. He’s also showcasing Ed Pruitt, the creator of Los Angeles’ OG poppers picnic. “He’s one of the biggest poppin OGs in LA,” says Ford, who connected with Pruitt at a Pasadena showcase after communicating for years.

“We can come together,” Ford says, connecting his platform of dance to themes of unity. “That’s what this event is about. Communicate, understand, and unite.”

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We Recommend We Recommend

Blowout

Beale Street Caravan has big news. The 23-year-old weekly public radio show, heard by more than 3 million people all around the world, is moving its offices to the Crosstown Concourse and partnering with Crosstown Arts.

“We’ll still be our own 501C3 not-for-profit organization,” executive director Kevin Cubbins says. “But we’ll be working with Crosstown Arts on several initiatives I’m really excited about.”

The caravan is on its way.

The Beale Street Caravan Blowout, held this year in the Concourse’s East Atrium, was planned, in part, to celebrate the new move and opportunities. The fund-raiser — once an annual event — was brought back by popular request.

“We took the past couple of years off because these things are taxing for a small staff to pull off,” Cubbins says. “All we heard for the past couple of years was, ‘Oh my gosh, I can’t believe you’re not having a blowout.’ The event had really become a thing for music organizations in the city to come out, and show out, and show their support. It was like, almost like a little reunion every summer.”

The Reverend John Wilkins is playing, as is party band Black Cream, who’ll be appearing with an expanded horn section. “The auction is full of Memphis music memorabilia,” Cubbins says. “There will be Memphis music packages and house concerts.”

Categories
News The Fly-By

Fly on the Wall 1575

Neverending Gannett?

Sometimes it’s probably helpful to remind readers why Fly on the Wall has been obsessed with MediaNews Group’s unfriendly attempt to acquire Gannett, The Commercial Appeal’s parent company.

Hedge fund-owned media companies like MNG/Alden Global Capital, have a history of quickly re-selling or shutting down properties with no valuable assets that can’t be shrunk into double-digit profitability. And if the CA shuts down, FOTW won’t have nearly as many funny headline typos to make jokes about.

This isn’t the only example of tough times making strange bedfellows, either. Last week the NewsGuild and Teamsters unions urged Gannett stockholders to reject the six directors nominated by MNG/Alden, a minority shareholder.

“We believe that hedge funds in general and Alden in particular have had a destructive impact on the news industry,” the unions’ letter stated somewhat ironically given Gannett’s similar, if less severe business strategies and decades of corporate union busting. The union support follows a Gannett-issued factsheet aimed at correcting relevant statements by MNG that may be false or misleading.

Neverending Elvis

It may have just gotten easier to rebuild Graceland anywhere in the world.

The official Elvis Presley Twitter account helped an Elvis fan from Denmark get the mandatory 10,000 supporters to move his plan for a Graceland Lego set to the next level.

Categories
Intermission Impossible Theater

Victory: 1984 Gets a 21st-Century Makeover at Circuit Playhouse

This 1984 is a shock to the senses.

What’s the purpose of noise? In propaganda it’s an effective tool. A barrage of information traumatizes us. It tests our will and patience. Noise and competing facts disrupt, confuse, and numb us until basic self care — not even preservation — becomes a mighty instrument of control. It’s slow, low-impact torture, but the cumulative result is stunningly effective. I’m leading with this because weaponized information is a fact of modern life, and the major theme explored in Robert Icke and Duncan Macmillan’s recent adaptation of George Orwell’s landmark novel, 1984. As the story veers away from Winston and Julia’s secret, desperate romance in a broken, paranoid society, and jets down a tunnel of pure horror, this interpretation evolves into an academic lecture on the art and science of manufactured reality.

I appreciate the experiment and visual inventiveness but I’m not always sure what this latest interpretation of Orwell’s cautionary tale hopes to accomplish. Projected fields of text against gray, Bauhaus inspired set pieces are as stunning, as the author’s ever- prescient words: “War is peace, ignorance is strength, freedom is slavery.” There are moments when the  action on stage at Circuit Playhouse leans in the direction of dance, and all these layers create an environment that’s visually remarkable but at odds with itself. It’s difficult to`communicate how artlessness degrades humanity in an world made of overwhelming artistic gestures. As the long one act plays itself out, Carter McHann’s tremendous, anxiety-core sound design proves almost too effective. It comes on strong but its ability to punctuate and frame the action gets lost in droning persistence.

Propagandists benefit when the crowd numbs out. Theatrical goals are different, so an immersive approach to torture techniques yields mixed results.

Stripping Orwell’s story down to principal characters, with only a handful of secondary voices, robs us of any real opportunity to experience the soul crushing imbalance of  individuals flickering in and out of self-awareness inside a monolithic, fear-motivated society. There are glimpses when children rat out their proud, thought criminal parents, but the bigger picture is always out of focus.

For the most part, director Courtney Oliver wrestled this seemingly minimal, but spectacle-heavy show into a matter of substance and relative clarity. Her cast seems uniquely grounded, resulting in honest, humane performances led by Danny Crowe as the show’s protagonist Winston Smith. Even when the text gives actors only a note or two to blow, they blow them fearlessly. Oliver’s prudence is also evident in a stubborn avoidance of contemporary political tropes. She carefully navigates the storm of projected information and noise and lets the adapted work speak, more or less, for itself. 

Greg Boller goes sleazy as O’Brien, the inner-party member posing as a gateway to the resistance. Like a good sadist, he tells his victims exactly what he’s doing while he’s doing it. Boller’s mic drop moment is painfully literal, but he delivers a solid crash course in gas-lighting and the mechanics of the long con. So much is made of “Room 101” and O’Brien’s use of torture in 1984, but that’s all endgame — last mile delivery. “We are the dead,” indeed.

Adaptations give us a chance to explore specific narrative threads and shine new light through old windows. In this case, exposing the audience to low grade torture techniques by way of flickering or flashing light, grating inescapable sound, triggering imagery and making us all hold our pee through the intermission-free show, drowns out a more interesting theme struggling to escape a relentlessly bleak event’s sadistic gravity: Are our heroes, villains, allies and enemies all fictional constructs? Have they always been? By the time this idea expresses itself in dialogue, we’re, once again, too agitated to see the elusive bigger picture. Maybe that’s also the point.

As historic text, 1984 mocks us, predicting a “black mirror” environment of compromised privacy, nationalism and weaponized mass-information. As a piece of contemporary theater, this version of the story is neither agitprop or entertainment. It’s an experience. Whether it’s pleasant or not may prove to be a subject of contention, and probably beside the point.