Doomocracy's dystopian perspective seems awfully close-at-hand with an election just around the corner! Skillfully situated in the Brooklyn Army Terminal, with it's concrete balconies and disused train cars, this intense production of a potentially fast-approaching future was a treat to watch and participate in.
I had the honor of attending the Lincoln Center Directors Lab a few years ago with fellow 'labbies' Meghan Finn and Jenny Tibbels, both of whom are closely associated with this Pedro Reyes production—Finn as director, Tibbels as actor. One of the beautiful things about the lab was being involved as director, actor and audience member. Doomocracy also works with this expansive premise.
Reyes and Finn have created a world where the audience is an active participant—part watcher, part storyteller. I love this type of immersive theatre! It is unlike Punchdrunk's hugely successful 'Sleep No More', which is an elaborate 'promenade' production—an immersive set, but very little direct involvement with the action by the audience (the friend I went with reported he had been taken into a little room and intensely stared at for a long period of time).
The drama is broken down into various vignettes of varying lengths, with differing levels of audience involvement. I loved the opening scene where we were stopped in our passenger van by soldiers and filed into a building—so scary, additional favorites included the 'Housewives of Neighborhood Watch' (my title, not theirs!)—matching weapons to the season, 'Breathe'—purchasing 'air' from the Himalayas, 'NatureCorp' —the virtual reality Parks Service, and The Boardroom—where I made a social choice and was promptly told to climb some stairs, don an apron and serve the bourgeoisie!
I loved the whole experience. My only criticism, and this speaks to me as a director, is that I wasn't hurled more deeply into a dark, horrific future—I wanted to feel the pain!
Now through November 6.