See OVERRIDE (this is a theatre review)

The Landing Theatre Company’s debut of Elizabeth A. M. Keel’s new play about simulation and intimacy gives us intimacy without simulation.

Promotional artwork from The Landing Theatre Company

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.

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The Muppet Stephen Sondheim’s Company

For no particular reason.

PIGGY: As for moi, I have been studying martial arts. Do you want to see what I can do? Come here, sweetie.

KERMIT: Oh, I don’t think that’s necess–


(Kermit flies like a ragdoll across the set.)

KERMIT: Sheesh. I need to get out more.

PIGGY: Oh, you think vou could get out of that? Is that what you’re saying?

KERMIT: No, actually, what I said was–

(Sounds of off-screen mayhem. Pan back to Piggy and see she has tied Kermit’s limbs in a pretzel knot.)

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