Love and Information: A Delightful Testament to Today’s Methods of Communication and Relationships

February 15, 2016 - Picnic Time

Mateo Mpinduzi-Mott and David Wald

The set-up:
What a poetic present Main Street Theater gives us in respect of St. Valentine’s Day: Caryl Churchill’s pleasant Love and Information (2012). Redolent as a incense of low red roses, heady as a potion of Veuve Clicquot, honeyed as a bonbon.

The execution:
It’s all about communication: misunderstood, cross-wired, mislaid in translation, direct. Modern communication, only. This is a play about today. There’s no needle and parchment, no mailbox, not even a typewriter for these folks to use to bond with any other. Everyone’s in flux, as is a universe that’s raid by high-tech gizmos: laptops, texting, video, dungeon phones. Everything’s discerning and razor sharp.

This impressionistic frisk by a tellurian heart skips all around, violence soundly, as it easily touches on how we speak to any other, customarily in a many ambiguous ways, nonetheless we all somehow conduct to land a arrows even when not aiming squarely. Who’s got time to speak about love? Startlingly, a semaphore gets honour of place as (what we assume to be) a play’s pretension is crisply spelled out right during a beginning. The flags disappear, never to be seen again. We’re off and panting.

In sixty or so unequivocally brief scenes – some are one judgment long; one is totally wordless as a integrate stares during any other opposite a list – adore creates itself felt even as difference fail. There are punch lines and punches to a gut; a few scenes are mysterious during initial though will stir later; a meagre few tumble prosaic since changed difference get garbled, though their impact still survives. Let’s move, let’s go, Churchill says.

Once we get into a play’s rushing flow, we gaunt in close, meaningful zero will final unequivocally prolonged and we wish to hear any word. Except for a father and mother who make repeat appearances as their brief story is intermittently revealed, we never see a same characters twice. Today is a blur, a playwright winks during us, a courtesy camber needs tweaking.

Are we improved for it? Perhaps not, for a problems in communications from a heart don’t unequivocally count on technology. We’re dumb even with Grammar Check and Auto Spell. Verities are eternal.

We accommodate a duds of characters: teen girls ravaged that they can’t find out online what’s their teen idol’s favorite smell; a geneticist wearied during her pursuit reading DNA codes; a male who can’t feel pain; a former integrate reliving past memories; happy lovers on a bench; a male with ideal recall; someone who’s depressed in adore with a practical existence woman; a daughter who finds out who her sister unequivocally is; a scientist who dissects duck brains; a manic partner who can’t conclude a present of a elementary rose; a survivor of a lover’s (?) remarkable death; a male who doesn’t remember his wife; a integrate reliving their marriage customarily by video; a mom retelling a medieval fear tale; dual boys in a tent looking during a snail; a male who seems many alive when off medication; people of all forms blank messages right in front of them; students study for math…

The list goes on, any one startling and full of fact even when we don’t know anything some-more about who these people are. We start adding sum of a own, stuffing in a ellipses we assume we need, that is substantially Churchill’s other wily process to keep adult preoccupied with her changeable ADD kaleidoscope. We wish to know what happened before as good as after to any of them. It’s utterly apt and charming.

In a black box form of arrangement during Main Street, we’re adrift in space. Sparse and elegant, Ryan with McGettigan’s light-tinged outlines are set opposite black, filled customarily with essentials: a bed, a contingent of cosmetic chairs, one plush chair. When these settings have been used, whoosh, a actors pierce them divided and other actors move on another variation: a cot replaces a bed, a cafeteria table, a cruise basket for an uncovered rendezvous. We keep drifting, no waste, no time to waste. Director Philip Hays overlays Churchill with witty style; he winks during us too, giving this contempo play a divulgence mod touch. Macy Lyne’s costumes are up-to-date; Phil Kong’s lighting is prickly, and Alex Worthington’s sound design, like a best of an aged Hollywood film score, stays in a credentials to dump hints where needed.

Not to leave anyone out, here are a thirteen actors who rebound around like pachinko balls (talk about a pre-video diversion era!): Rebecca Bivens, Brittny Bush, Greg Cote, Patricia Duran, Dain Geist, Haley Hussey, Jovan Jackson, Shelby Marie, Brandon Morgan, Mateo Mpinduzi-Mott, Regina Ohashi, Molly Searcy, and David Wald. All are marvelously clueless, in love, crazy, or demented as they contingency be, before they reappear as something else who’s clueless, in love, crazy or crazed. They move glee.

The verdict:
So get off your cells, and no some-more texting for an hour-and-a-half. There’s a uninformed incense emanating from Main Street. Take time to smell a tellurian roses.

Love and Information continues by Mar 5 during Main Street Theater, 2540 Times. For some-more information, call 713-524-6706 or revisit $26-$39.

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