The following article appeared today in TDF Stages, the online magazine of the Theatre Development Fund. You can read it there or below. Stay tuned, folks! This is only the beginning.The lights rise on a wall of grass and two suspended actors, arms resting behind their heads as if they’re stargazing. One of the actors (Noah Galvin) hangs from his feet, upside down, and chats with his co-star about the speed of light.
Then the lights dim, a sound effect blares in the darkness, and we’re suddenly in a toy-strewn living room with two new characters. An entirely different scene begins.
Asked about negotiating that sudden transition—in ten seconds and in pitch darkness, no less— Galvin smiles, saying, “Our job is to get changed very quickly and move furniture. I’ve been instructed by my stage manager to not give too many details.”
Caryl Churchill’s Love and Information, now playing in a New York Theatre Workshop production at Minetta Lane, is a mosaic of 57 such transitions, as magical as they are jarring. The audience must process completely unrelated scenes ranging from five seconds to several minutes long, and this deluge is Churchill’s theatrical reckoning of our downloadable, ADD-driven world. Under the direction of James Macdonald, 15 actors play hundreds of roles arranged haphazardly into bite-sized—or perhaps more accurately, byte-sized—vignettes.