Review: A Net by Steven Ackley. Conceived and created by Steven Ackley, Amy Escobar & Elissa Eskridge. Produced by boom! With Andrew Buffelen, Joshua Williamson, Lauren Currie, Robert Kompare, Tracy Cahill, Lindsay Corbett, Angus Maxwell. Now through February 12 at SPACE, 114 Alaskan Way South.
Things are a bit odd...at boom! theater company's production of "A Net".
The boom! theater company (yes, the lowercase is deliberate) is a new, young company that caused a stir with last fall’s Taphonomy. I didn’t see it, to my regret, but the word of mouth on the show was positive and the general consensus was that boom! was a company to watch for. With the news that they were mounting a new production this winter, benignly titled A Net, I made sure to book my ticket for the opening last week. The night of the first performance was a typical drizzly, moody winter’s eve and the theater space (known as SPACE) was in a building on Alaskan Way adjacent to the sure to eventually collapse Alaskan Way viaduct. The streets are confusing in that part of town and it’s shadowy and a bit creepy and the area is home to many homeless people. It’s a spooky part of town.
I parked the car, and walked to the door of the building hosting the performance. There was a doorman who eventually led myself and two other people down a long, dimly lighted hallway to a rather brightly lighted but banged up looking elevator and we ascended to the third floor. We walked down another long, creepy corridor and stopped at a closed door to take care of the ticketing. Then, we entered the space of SPACE.
It was a small space, not much bigger than a loft apartment, with high ceilings. There was a bar area, manned by a couple of bartenders, with a loft above that for the light board operator. But, the majority of the room was filled with an installation, that more resembled a living art space than a theater set. Corralled by walls with large openings in them, the set consisted of a cubicle area set up as a computer terminal work space; a large open “living area” with odd electronic equipment lining the area including a disturbing looking easy chair with ominous gadgets attached to it; then a hallway linking to a “holding pen” area. On our side of the wall, there were small placards attached, like in an art gallery, with brief notes about the strange life and disappearance of a young man who died on January 21, 2011, the night of the performance itself. Inside the set, two men were setting up; a young bearded man in a lab coat, and a clean shaven young man who mainly concerned himself with operations at the computer cubical. Oh, and there were two “sentries”, one of whom is pictured in the photo, each dressed identically, one male and one female, and they seemed to be guarding and patrolling the area of the theater space, moving robotically and at random. The ceiling was filled with a large installation of crossed lines of string and wiring, that formed a net like effect. There were no seats set up for the audience but there were stacks of folding chairs along one wall. There were no instructions for the audience and the effect was unsettling and odd. What were we supposed to do? Should we sit, or stand, or wait, or interact with the “cast”? It was, after the journey to get to the theater, a creepy and uncomfortable experience and I felt claustrophobic. I wanted to leave but remained. I’m not a coward.
At 8pm, the show began. There were screams and flashing lights. Three young people gagged and bound and clad in their underpants appeared in the holding pen. The bearded doctor and his assistant led them into the main area. An experiment was started. Nasty things happen. (There will be blood.) Someone dies. Someone goes mad. Someone sorta dies, or goes to another plane of existence. There is a net. The sentries patrol. A few audience members eventually grab folding chairs to sit, but no one remains sitting for long. The walls descend and some of the actors change costumes. The end.
This took about 45 minutes. Short is the new black when it comes to new theater.
Also hot in New Theater Land: plays about the Internet. And digital stuff. And dystopic societies. And plays that reference films, in this case, contemporary horror snuff films. (Blair Witch, Saw, Human Centipede all seem to be referenced here.) Robots. Splatter zones.
Plot is apparently out. It’s not “cool”. The plot of A Net concerned a science experiment that involved linking up humans to the Internet and becoming one with it. I think. It’s not important. This is experimental Theater Land where story is usually secondary to “ideas” and cool costumes, props, sets, lights, SFX and the soundtrack. It’s supposed to be an “experience” and not a traditional piece of theater. And, of course this is not new; The Living Theatre with Judith Malina and Julian Beck started it all back in the 60’s and it has its root in Dada. The only difference is that now this type of theater demands an element of science and lots of neat special effects and almost always references a movie, comic book or music video. And, it’s short.
I didn’t dislike A Net and it was an interesting theatrical experience and I think the young art makers of boom! have talent and charisma. I also don’t think A Net was very original or insightful or relevant. It’s more of a party piece than a work of art, more suitable to a Halloween Haunted House than a (non) traditional theater stage. I’d like to see something a little deeper from them and not so reliant on Pop Culture references. They are still a theater company to watch for.
Who’s it for? Scenesters looking for a “different” kind of entertainment. The young intrigued by the idea of live theater but turned off by traditional presentations. Fan boys/girls who long to be a part of a comic book/slash horror film.
