Finally, I can talk about a play and people still have a chance to go see it! One week, but still. You could potentially see it, versus all those other plays where I see them on the last night and my thoughts are useless.
Okay, so go see this. You’ve probably heard of it, since it’s a re-mount of an earlier production that the San Francisco Chronicle named one of the Top Ten Theatrical Events Ever or somesuch. So if my jumping in means anything: go! It’s really wonderful. It features what’s always called “Adam Bock’s trademark syncopation,” which, going in, I had no idea what the hell that meant. I’m still not sure “syncopation” is the right word, and I’m pretty sure Adam Bock hasn’t trademarked it, but whatever it is, it’s cool.
Adam (I can call him Adam because I once signed up for a class he was going to teach but it got cancelled because he had to move to New York to be a New Dramatist or something, so he owes me) does everything I like. And for the first time ever, I think, I can say it’s something that I try to do also (since usually I’m praising things I could never do in a million years, like Mac Wellman‘s use of language or Sheila Callaghan‘s use of everything).
Oh, so those things I like…. He approaches the whole piece rhythmically and almost musically. He uses natural-seeming dialogue to get at the heart of the way people try (and fail) to communicate. He has people interrupt each other a lot (also called “syncopation”). He plays with structure, breaks the rules, throws in flashbacks at unexpected moments, and generally writes a hell of a great play.
So go! Unless you’re one of my many readers attending Brown at the moment, in which case you probably already saw it.