@showsiveseen "Crave" #avantGarde #abstract #play by @Intiman Theatre at Erickson #Theatre Off Broadway. Loved the water & shadow box aperture scenic design by Jennifer Zeyl. Impressive script memorization. Elegant, #poetic execution. Closes next weekend! #showsiveseen ♬ Good Things – ESPER
Elevator Thoughts (aka Tweet): Crave avant garde abstract play by Intiman Theatre at Erickson Theatre Off Broadway. Loved the water & shadow box aperture scenic design by Jennifer Zeyl. Impressive script memorization. Elegant, poetic execution.
See it if you either enjoy 1) analyzing poetry/literature, 2) visiting modern art museums, 3) or watching weird experimental plays like Washington Ensemble Theatre’s Arlington.
Was This the First Time I Attended a Production of this Show? Yes
Would I See It Again 3 Years from Now? No
Mainstream Appeal: Low to medium
My Synopsis (No Spoilers): Describing this play is a challenge, since it is an abstract, experimental work without conventional storytelling. The narrative (if you can call it that) is elusive. As someone who typically engages with theater on a more surface level, it was impossible for me to grasp the script’s deeper meanings. The performance featured four actors, who delivered their random lines directly to the audience in a poetic manner while hardly looking at each other. The experience was beautifully designed, but the overall impact was more sensory than narrative. It was akin to an art installation that I didn’t understand at a museum.
Synopsis from the Licensor or Theatre Company: Love, loss, sex and desire play across the stage in this poetic and deeply personal play from legendary playwright Sarah Kane, returning to Seattle nearly two decades after it last stunned audiences as one of the first productions from Washington Ensemble Theatre (WET). For this revisiting of the material, Intiman will bring together many of the original artists for an encore production, including Roger Benigton, Marc Kenison (Waxie Moon), and Marya Sea Kaminski. Intiman Artistic Director Jennifer Zeyl, will once again design the set, having won the Stranger Genius Award in 2006 for her original design. Peer deep inside the mind of four fragmented and fractured characters as they strive to find peace and connection in a lonely world. A visceral and transcendent experience that will leave you breathless.
Type: Play
World Premiere: No
Several or Few Scenes: One continuous scene
Several or Few Settings/Locations: One ambiguous location
Static (Stationary) or Dynamic Set: Static
Prior Exposure/Knowledge Required: You’ll enjoy this play more if you have a strong ability to interpret the deeper meanings of an art piece – whether in literature, poetry, paintings, music, etc.
Defined Plot/Storyline: No
Union Actors: 3
Total Actors: 4
Perceived Pace of the Show: Medium speed
Was there an intermission? No
Length (Including Any Intermission): 50 minutes
Other Rave(s) Not Mentioned Above
- Scenic Design: The scenic design by Jennifer Zeyl was the highlight of this production. It brought to mind the set of Lady Gaga’s “Bad Romance” music video, with its modern aesthetic. I’m always drawn to shadow box apertures on stage, like those in Village Theatre’s Cinderella or the national tour of Company, and Zeyl’s design didn’t disappoint in that regard with a giant shadow box where most of the acting took place.
The reflective floor, which at first glance appeared to be a mirror, turned out to be a pool of water. I didn’t realize this until the first third of the play when the pool was disturbed, creating mesmerizing ripples that projected beautiful patterns on the ceiling. I’m sure lighting designer Jessica Trundy played a major part in this masterful execution.
After a dramatic curtain fall (a theatrical element I always appreciate), performers waded into the water and interacted with it, nearly splashing us in the front row! I couldn’t help but worry about the risks for the actors what with all the electronics and lighting equipment just inches away from the reflecting pool.
The use of water in this production also reminded me of Intiman Theatre’s The Sign in Sidney Brustein’s Window from 2023, which featured a waterfall. It seems that this theatre company gravitates towards aquatic scenic design motifs.
- Setting the Stage: The opening moments of the play began with the lights gradually dimming to black at a deliciously glacial pace, accompanied by a soundscape designed by Matthew Starritt. This simple “overture” was surprisingly a heady, meditative, and peaceful experience, setting a tone of anticipation and calm before the performers began.
- Memorization: The script demanded extraordinary memorization abilities from the performers due to its lack of a clear linear plot or chronological structure. In addition to its fragmented nature, the fast-paced call-and-response exchanges between the actors and the fact that they rarely made eye contact added to the challenges. As Alexandra Tavares (who played “M”) aptly mentioned during the talk-back, the script was particularly tough to memorize because it lacked any “connective tissue” between the lines.
Other Musing(s) and Observation(s)
- Character Names: The characters were named “A,” “B,” “C,” and “M” played by Lathrop Walker, Christopher Morson, Marya Sea Kaminski, and Alexandra Tavares respectively. What is the significance of “M” not being “D?” Leave a comment in my social media if you have any ideas.
- Cassette Tape: The characters occasionally interacted with a tape recorder and a cassette tape, which made me wonder if younger audience members (especially Gen Z) would even recognize these props. How much longer will these items remain relevant in theatre? It reminded me of the corded phone as a key plot device in ACT Theatre’s Stew, which was another example of how quickly technology can feel outdated on stage.
Theatre Company: Intiman Theatre
Venue: Erickson Theatre Off Broadway
Venue Physical Address: 1524 Harvard Ave, Seattle, WA 98122
Price Range: $65-80
Ticket Affordability Options: The ticketing website offers honor code discount options for students, military, industry, … or anybody! They also offer 20 free rush tickets 1 hour in-person before each performance.
Dates: 2/11/25 to 3/2/25
Seating: Assigned Seating
Parking: It’s Capitol Hill so street/lot/garage parking is expensive. Street parking is even sparser than downtown! Ironically, the uncovered parking lots on Harvard Avenue across Seattle Central College are cheaper than street parking. I highly suggest taking public transit if possible.
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Pictures: See production pictures below by Joe Moore.
Cast and Production Team: See after pictures below.
