Performed in West Dallas, Texas (April-May 2017), a super-fund site and former warehouse district in transition. Structured as a ritual initiation, the performance led audiences through fourteen sites in six different buildings on a journey of self-discovery. Six audience members (referred to as 'boners') were admitted every ten minutes. Entry point was Tacos Mariachi, a local restaurant. Audiences were given an "entry gesture" and address to the first site, down the street. Inside, boners were asked to pick a question (from twenty-four offered), to frame their journey. In the next room a diviner asked each to whisper their question and throw bones onto a map symbolizing venues and values. Audiences then traveled through a series of participatory performance installations. A video installation of birth, death, transition, and infinity, led to a room with Tan, a beautiful creature of anxiety, tension, seduction, and confusion. Then outdoors to Kei, a woman offering a stone of soul and directions. Down the street to an abandoned garage to Agent Zay, who weighted their stone and their authenticity. The inauthentic were remediated by Cadmus. Walking the streets to an empty industrial building and metaphysical questioning by Que. Bung, a dominatrix, probed further. Then Rem, comforting and welcoming, asked boners to travel a labyrinth of life symbols and wash their stone. To another building and Zun, offering medicinal brews and life messages. Through the streets encountering guides, to a meditative wash of song and dance, the world created anew. Down a hall to Vig, preparing hearing and being. Then to a storage building, and Sabu demonstrating life force. The last site, a long high chamber of gauze and shadows to Urd, where boners knotted their stone to an ever-expanding web of material. The performance ended with each boner photographed, their re-birth documented.
Excerpt from a review: There are no comfy seats, glossy playbills or curtain calls. They’ve long jettisoned those theatrical touchstones. Though there are scenic elements, they occur in concert with their environment like art installations taking advantage of the buildings, the neighborhood and even the time of day. The dusk night sky lends itself to stunning visuals of downtown in particular. The immersive environments allow for more varied sensory input than traditional theatre. Soundscapes are employed in many of the locations with an emphasis on blurring boundaries of the noise of the environs be they physical or mental. In one stunningly vast room, the quiet was engulfing on the night I walked through. In another, the source of sound was moved around the audience instead. There are locations that traffic in olfactory overload like incense. Sprinkled along the way are interactive moments from the tactile to taste. Be ready for anything.
David Novinski, Theatre Jones