New Georges presents this immersive sonic experience inspired by the haunted and often funny sound worlds of 20th century British composer Daphne Oram, inventor of Oramics, a precursor to the synthesizer. More…
This multi-strand sound-generating machine serves as a structural model for an architectonic play in which disparate eras, worlds, and time signatures collide as Daphne’s present-day alter ego, Constance Sneed, investigates the condition of invisibility that plagues her, too, and envisions a world in which old ladies do not die alone or forgotten.
"While I marveled at the intricate design and the ambitiously complex story, I can't help but wonder if the play would benefit from more concentration and simplicity...If you’re willing to submerge yourself into the story and let the characters guide, nay, embrace you, then you’re in for an enlightening, or at least interesting, experience. But it is nevertheless a challenging story that demands your absolute attention and willingness for piecing together puzzles." Full Review
"There is something Tom Stoppard-esque about the era-hopping intermingling of reality, fiction and art. But the elusive link proves anticlimactic when it finally emerges, and even at a mere 90 minutes the evening wears out its welcome. A problem is that despite Ms. Stahlmann’s warm, quietly quirky performance, Constance pales besides the intriguing Oram...Still, as flawed as these two shows are, it is refreshing to see them try to use technology to refresh theatricality." Full Review
See it if you’re interested in new forms of theater, or theater that foregrounds sound design, or how theater can express discontinuities in character
Don't see it if you’re looking for a traditional play: Sound is featured here. Characters are highly stylized. The meandering plot has big willful gaps.
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