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July 23, 2017

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Fringe Review #1: Anomie

July 22, 2017


Okay so remember that Canadian Kafkaesque half-awesome half-lmao shit Melissa what are we watching movie where a group of people wake up to find themselves trapped in a cube, and they experience ~*conflict*~ between one another and t h e m s e l v e s in their quest to understand their circumstances and ultimately (hopefully) escape? And then they escape one cube but PLOT TWIST these individual cubes turn out to be just one of a series of interlocking cubes moving on some kind of fucking rotation system based on fucking goddamn mathematics, with booby traps in certain cubes that contain prime numbers or something math-y like that? I think it might have been called Cube. It was actually a pretty enjoyable movie, despite its focus on math, the Devil's art. 


In the immortal words of Jack from Lost, ‘[they] must learn to live together or [they’re] going to die alone." Anomie is a lot like that. Pleasingly, it has no math, and disappointingly no Matthew Fox. What it lacks in booby traps and smoke monsters it makes up in a strong interior logic and a thoughtful, dialogue-heavy script, the kind of script that is probably an actor's dream. Directed by Eric Rae with a hyper-minimalism far beyond even what Sam Gold dared to do in his recent production of The Glass Menagerie (shoutout to Finn Witrock's face), this play will likely go to the extreme for audiences: if sitting in a theatre with house lights up (ala Gold's Menagerie), soaking up lengthy moments of silence and reflection upon absence (tactics reminiscent of Annie Baker's John, also directed by Sam Gold) if that is your thing, then you are in luck. If it's not your thing, you're going to feel uncomfortable for large periods of time before heading back to some 5 star show that expects nothing of you. It's a win/win situation for everyone. 


Victoria Hill and Heather Krahn do a beautiful job of physically articulate the impatience of an absurdist existence, the script by local writer Wren Brian is smart and articulate, and the direction is similarity heady and intellectual, which makes it a well-written and well-directed play, but with the peculiar absence of a spark of energy – Joy? Humour? Mark Wahlberg? - that makes a good play great. It’s definitely time for these dreamboats to escape the boundaries of their own creative spaces and step outside in to the unknown. There could be some hella cool shit out there, and I look forward to witnessing it! 


I'd give Anomie 57 Walhburgers, equally divided between all the brothers, and a special Walhburger for Victoria Hill for gently touching my shoulder during curtain call, because it made me feel special! 

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