By Michael Buzzelli
Playwright Caryl Churchill explores multiple facets of modern life, spinning Fortuna’s Wheel, and wrapping her play into the randomness of life in “Love and Information.”
Churchill devised the play so that scenes (or rather, individual short plays with a common theme of love, information, or both) can be mixed and told in different orders, with one character, Gray (McKenna Reiser), providing a sad throughline to hold it all together.
Imagine a play as a jigsaw puzzle: some pieces are beautiful on their own, like a corner of sky, such as “God’s Voice + Dance,” and others are but tiny fragments that don’t make much sense. Other pieces don’t seem to belong, like “Torture,” where a man is beaten for information he never provides (yes, technically on theme, because a recurring idea is the nature of pain, but seemingly brutal for little reason).
There’s a lyrical beauty to “Love and Information,” but there are times when an actor comes on stage, utters half a line of dialogue, and exits the stage. Other times, actors flit about on stage or perform a chaotic ballet that looks like a Stanislavski acting exercise.
You might be reminded of Yesmina Reza’s “Art.” Watching the show, you might ponder such questions as “Is this art?” “Is this art for art’s sake?” “Is it pretentious bullshit?”
The play is, however, a beautiful showcase of a terrific ensemble, a grand experiment wherein actors must memorize material out of sequence (thanks to the aforementioned randomized order).
This ensemble of actors is exceptional. Each performer gets to play a variety of emotions; each had a moment to shine.
In “Facts” the final piece of the puzzle, Nai’Ron Arnett’s Lime was outstanding.
There is a luminous quality to Alika Samora (who played Green). Her movements were sharp and crisp. Every line delivery was expressive, heartfelt. It was hard to take your eyes off of her when she was on stage.
Don’t count your chickens in front of Mustard (Benjamin Kucharski) and Yellow (Lexi Casey). The two are hilarious in “Lab.”
Jamie Spurrell and Lucas Lee deliver the most shocking scene in a vignette called, “Mother.” Spurrell delivers devastating dialogue with aplomb. Lee’s reaction to the news is also heartfelt and real.
Reiser carries the emotional weight of the show as Gray. She does it with superbly.
The set, by Jonmichael Bohach, is elegant and spartan, a series of polished slabs of squares and boxes, superbly lit by Katie Gordy to give them a futuristic gleam.
Director Carlos E. Martinez is a croupier with a poetic Roulette wheel. His direction is kinetic, visceral. He pushes his ensemble past their comfort zones (with the help of fight and intimacy director Tonya Lynn), and that’s a good thing. His actors are up for every challenge and that’s what makes “Love and Information” a joy to watch.
Because the kaleidoscopic cast members are playing a variety of characters, sexuality is fluid here, and representation matters.
“Love and Information” might not be your cup of tea, but if you want to see some excellent experimental theater in Pittsburgh, this is the ticket.
-MB
“Love and Information” runs through December 7 at the Highmark Theatre, inside the Pittsburgh Playhouse, 350 Forbes Avenue, Pittsburgh, PA 15222. For additional information and tickets, please click here.
