The Sons of Beckett Theatre Company presents a performance of Chinese Nobel Prize winner Gao Xingjian's "The Other Shore."

"Nobel Laureate playwright Gao Xingjian employs a dizzying but riveting array of theatrical styles in this avant-garde work, which was banned in his native China due to its bold anti-Communist themes. One is initially drawn into to what appears to be a quintessential example of didactic Brechtian presentationalism. Before long, we decide it's closer to classic Beckett absurdism. Then subsequent segments with artfully stylized group movements and dance suggest the conventions of shadow plays or other Asian theatrical forms. This amalgam of diverse styles yields amazingly cohesive results, as eloquent symbolic imagery takes precedence over conventional narrative. Director Jerry Wienckowski and a splendidly agile ensemble illuminate Xingjian's timelessly compelling vision, a plea for human liberty and peace.

The abstract story charts a man's search for identity amid the oppressive sources that surround him. Wienckowski bookends the piece with impromptu-style segments in which the actors in a workout studio exercise, dance, laugh, and chat. The fourth wall is broken as a woman (Elly Jaresko) hands a spectator in the front row a long rope. Along with another actor (Jay Africa), she leads the cast in elaborate games in which they try to win rope-pulling competitions, demonstrating themes of power and manipulation.

These themes continue throughout the 90-minute show as the characters go on a desperate quest to cross a treacherous river, believing their exodus to the destination identified only as "the other shore" will bring elusive meaning to their individual lives. Jaresko's character initially takes the role of teacher and guide, but her fellow travelers soon rebel for irrational reasons and beat her to death. The power then shifts to the Man (Brian Johnson). He is tapped to rule the group, but he likewise encounters a series of obstacles to success. Though the scenes seldom progress in a logical fashion, the cumulative impact is alternately chilling and humorous. The dysfunctional interactions suggest the ill effects of political anarchy and the equally treacherous prospect of inefficient or self-serving rulers.

The spellbinding sense of surrealism in the actors' graceful movement, beautifully choreographed by Erin McBride Africa, as well as their crazed speech, work in effective counterpoint to the black-and-white simplicity of Jay Africa's unit set and Wienckowski's costumes. Rebecca Bloundt's lighting supports the rapid mood shifts, and original music by Carmen Balas and Lena Tufenkjian is intoxicatingly potent." 

-Les Spindle, "Back Stage West"

Performance Schedule