If you can say one thing, and only one thing, about Harris’s body of work thus far, it’s that it certainly seems to incite conversation.
even if death is on everyone’s menu, lurking somewhere after dessert, this evening, we survived
I went in with this insane piece, this musical phantasmagoria island site-specific thing — and came out with my most, sort of, small quiet piece I’ve ever made that really relies upon, for the most part, humans behaving based on characteristics that we can perceive.
It’s not always clear what we’re looking at, but perhaps Henry is tearing down the house, family, and narrative form itself with hope alongside rage.
Their arguments, even when hate-filled, are lucidly formed and difficult to penetrate. There’s a weird thrill of uncomfortable relief when we find ourselves half-agreeing with them.
It’s the concept of being brave and having a safe space that is safe enough that you can feel brave — because it takes bravery to have those conversations that you know will be difficult, with people that might have a viewpoint that is different than yours, but in order to find common ground and to communicate with each other, those conversations must be had.
You feel, given the virtuosity and care demonstrated onstage, that you owe this much. You can carry all this. If you let it fall, it’ll break the spell. Don’t spill the water.
“I’ll just put my bias on the table.” What is the impact of the work? “Let’s turn over the rock and see what’s under there.” Terry says.
Donovan builds a tranquil place effortlessly, and then creates darkness within the negative (theatrical) space around it, using it as atmospheric pressure to hold the memory in place.
You can get close to truth but you can’t ever – in my opinion – I don’t think any story is ever true.
If life is a race, all the characters here are lagging behind the leader, just hoping to keep up and find space to breath amidst the density of inevitable heartbreak that comes along with living.
I’m not sure I would call Mrs. Murray’s Menagerie a play, as such, if only because a play suggests an exterior blueprint which is then built or enacted by a group of performers and designers. The Mad Ones appear to build out – they start with what is generally interior, a collection of tiny behavioral tells that shape human intention, and construct around it.