Play Description

A brilliantly conceived and highly theatrical experience in absurdist drama, in which the audience is taken on a wild and funny metaphysical journey into the fertile imaginations of the diverse characters whose bizarre stories are deftly interwoven into the fabric of the play. DARK RIDE is comprised of a series of vignettes involving characters who, at first, appear to bear no relation to each other. A mysterious figure gives a scholar an ancient manuscript to translate; a thief steals an enormous jewel; a woman assures us that life is all coincidence; a dream-like waitress serves her customers all manner of thoughts and suggestions but no food. The images are bizarrely funny and provocative and, in time, coalesce into a pattern of driving concerns and obsessions that come into focus when the various characters finally meet at an oculists convention in Mexico City. Phantasmagoric, the play takes us on a journey that, in the final essence, transcends the physical world to explore the inner recesses of the mind.

Production Info

Play Description

A kaleidoscopic, surrealistic overview of contemporary America, set forth in the bizarre, highly theatrical style which characterizes this writer's distinctive voice. Produced by New York's highly regarded Public Theater, the play employs brilliantly imaginative avante-garde techniques to highlight both the dreams — and delusions — which infuse and motivate our modern world. The play is made up of a series of concurrent actions, some set in a tacky motel, some elsewhere, involving a group of disparate but curiously related people. There is the young night clerk, Pauline, who studies her high-school English Lit notebook, while growing increasingly fearful of the unseen and unwanted suitor who lies in wait in the motel parking lot; a raucous carnival barker touting his giant crocodile, Bonecrusher; a pair of seedy bar denizens who occasionally break into song; a dim-witted handyman, Chuckles, who performs pointless errands; a deranged scientist who believes that he is in contact with creatures from outer space; an abandoned woman who waits restlessly for a lover who will probably never return; and a mysterious drifter, Faber, who, somehow becomes the catalyst which fuses all these divergent elements into a cohesive, and often wildly funny whole. And, in so doing, makes the play both an encapsulation of the American myth and, at the same time, a telling comment on what is right — and wrong — with this myth.

Production Info

Play Description

In the first play in LIMBO TALES, HIGHWAY, a man suddenly decides to drive to his girlfriend’s house, which is 200 miles away. He becomes obsessed with the thought that each car that passes may be his girlfriend coming to visit him — and as he begins to lose touch with time and place he becomes convinced that he has moved back to another century, another civilization. In the short INTERMEZZO, a Master of Ceremonies announces, in hilarious detail, all the exotic acts that will not be on the bill that evening. In the final play, HOTEL, a down-on-his-luck encyclopedia salesman sits in a flea-bag hotel room, eating Chinese food which is delivered by a disembodied arm, while listening to the squabbling of his neighbors and contemplating the aridity of his limbo-like existence.

Production Info