Once upon a time, I was called upon to put together a module of activities for a summer theatre camp. Through some breakdown in communication, I had an inaccurate notion of the ages that were at this camp.
The Landing Theatre Company’s debut of Elizabeth A. M. Keel’s new play about simulation and intimacy gives us intimacy without simulation.
When my wife and I pulled up to the performance space, I thought that I had misentered the address into Google Maps before suddenly having the freefall recollection that Override is produced in people’s private homes. I’m a big fan of productions that alter the traditional performance framework, but I’m always initially nervous to see how it will be justified by the production. (Also, the thought of being in a stranger’s home sets my teeth on the edge of my seat. But that’s my damage.) However, Override used the alteration quite effectively to make even more immediate its tale the difficulty and importance of human connections.