REMEMBER ME...// A THEATRE REVIEW OF "THE ORPHEUS VARIATIONS

BY MATEO MORENO AND MATTHEW CODY LANG

Often, Mateo and Cody will delve into the same film or theatrical piece, dissecting it into a hopeful strong case for or against it (often we will be strongly on two sides, which hopefully makes for interesting reading.  Recently, we both experienced, and I do mean "experienced," THE ORPHEUS VARIATIONS by the Deconstructive Theatre Project.  Our views to this theatrical/film hybid is here:

MATTHEW CODY LANG

Something new and exciting has been in the works for a while here in New York City: The Deconstructive Theatre Project's piece known as THE ORPHEUS VARIATIONS.  It premiered in Brooklyn last October just before Hurricane Sandy.  A lucky few, me included, got to experience it in an old warehouse which featured an interactive piecing of memories before the actual show but has now been cut from the piece.  Recently, the production was moved to the HERE art space in downtown Manhattan where it ran from June 27th-30th.  This is the kind of show that will have people talking long after experiencing it.

The show draws inspiration from the Greek legend of Orpheus and Eurydice to tell the story of a young man piecing together memories to find his troubled wife.  There are many aspects of the show that go beyond the traditional.  Actors say their lines from a table as others are filmed with cameras that capture the scenes and project them onto a screen.  Others create sound effects and play live music that sets the dark tone of the show.  What might have been an odd combination for most people turns into a very unique experience that will keep you satisfied and amazed.  The construction of the scenes allows for the audience to see the movie magic involved which could be distracting from the actual story but everyone involved sets the mood so wonderfully that you are immersed.  Watching the production reminded me of early Lars Von Trier films such as Europa and his version of the Greek tragedy Medea. Luckily for them, I am a sucker for Lars Von Trier so I was hooked from the beginning.  Even if the tone is not something you are particularly interested in, observing this creation is enlightening and awe-inspiring.  I do, however, think there seemed to be better sound effects in the original production and the new space wasn’t as intimate as warehouse.  With these things aside, I still found it incredibly enjoyable.  Hopefully we will see this show performed in other spaces for more audiences to experience.  I cannot wait to see more exciting things from The Deconstructive Theatre Project.

MATEO MORENO

"Innovative and enlightening..." "Staggering with emotion from the begging to the end..." "Completely original..." These are not compliments that I dole out easily to theatrical productions around the city.  I do however crave a brilliant piece of theatre, and every so often one walks in the front of the pack.  Last year Loft Ensemble took me there with the brilliant Lovesick and I had a similar sensation earlier this summer sitting through the fantastic Natasha, Pierre, and the Great Comet of 1812 at Kazino.  Yet one continues to come into my mind when thinking of creative theatre, and that is Deconstructive Theatre's recent return engagement of The Orpheus Variations (which ran from July 27th-30th at HERE).  Here, the myth of Orpheus and Eurydice is told in a condensed and modern version, placing itself somewhere in between a theatrical piece and a film.  In fact, you get both as actors on stage have cameras rolling around them and set pieces that fly in and out of view.  You can "choose" where you want to look; Do you want to watch the movie process of moments being set and shot?  Would you rather just watch the film projecting above it all?  Or perhaps, like myself, your eye is drawn to it all, darting from the actors moving around stage, musicians on the side setting the tone and mood, the camera crew setting up tight closeups, and then seeing it all play out on the screen behind them.  It's truly a facinating experience, one that I have never quite experienced before in this way.

Robert Kitchens and Amanda Dieli play the central couple with a powerful grace, yet they rarely speak a word.  Other actors around them fill in the blanks for us, speaking into microphones and guiding us along their story.  Kitchens plays a musician who's quiet exterior is due to his heavy loss of his love (Dieli) and searches through his memories of their time together with honesty and grace.  Every crisp, clear voice and movement of the ensemble seems to quietly grab you, insisting you to pay more and more attention to everything around you.  Brainchild Adam J. Thompson and the rest of the Orpheus crew have really created a beautiful and powerfully moving show that not only will challege the way you see a show, it will knock you off your chair wile doing so.  Thompson and the entire east and crew shoudl be thanked for the intamacy and power of the play.  Keep an eye out for an upcoming producion of The Orpheus Variations this fall, which is promised to be longer (the play ran roughly 45-55 minutes) and in turn keep an eye out, as I will, for Deconstructive Theatre Project's future projects.  If this is what their idea of innovative theatre is, consider me a true fan of their passiononate beauty on stage.

Conceived and Directed by Adam J. Thompson  Created by The Ensemble  Starring Amanda Dieli, Jen Browne, Arielle Lever, Jessica Annunziata, Sarah Isaacson,  Robert Kitchens, Steven Conroy, Peter Van Hyning  Content Warning: Mild Violence. Official site: http://www.deconstructivetheatreproject.org

MATTHEW CODY'S GRADE: A-

MATEO'S GRADE: A

Bottom Line: Beautiful, intriguing, and thoght provoking.  Thinking you'll see something similar to it on stage this year (or next) would simply just not be true.  You would be wise, whether a casual theatre going or an expert, to search it out.  You will thank me later.