Myths and monsters loom massive within the works of Dave Malloy, finest identified for his hit “Natasha, Pierre & the Nice Comet of 1812,” which involves Shotgun Gamers quickly.
In his rock musical “Beowulf: A Thousand Years of Baggage,” the title character goes on a heroic quest to slay the beast Grendel. Now, within the haunting chamber musical “Octet,” in its West Coast premiere at Berkeley Repertory Theatre, the monsters have burrowed into the core of our collective unconscious, holding us in thrall by way of our glowing screens.
Certainly one of most intellectually and emotionally provocative items in latest reminiscence, “Octet,” astutely directed by Annie Tippe, doesn’t simply seize the angst and anomie of an Web-addicted society. With its siren tune of hypnotic and wealthy choral harmonies, it truly lures us into pondering our personal intimacy with screens, making this reviewer really feel each absolutely seen and relatively aghast all of sudden.
The music lulls us right into a reflective state the place dulcet tones maintain dire warnings about the place our obsession with expertise is main us. The motion unfolds at a church basement Web help group gathering the place a cappella singing is the trail to redemption, pitting the facility of the human voice towards the Sturm and Drang of the social media abyss.
Members of the group can’t management themselves relating to tech. The horrified Jessica (Margo Seibert), caught on video throughout an embarrassing interlude, can’t cease “multitasking all of the tabs of my humiliation,” whereas the mind-mannered Henry (Alex Gibson) feels compelled to play Sweet Crush so fervently that he doesn’t have time to wash or brush his tooth, staying in mattress, residing off chips and soda, day after brain-rotting day.
Every character shares their disgrace in a tidal wave of confessions that contact on grotesque porn, paranoid science chat rooms and tarot card devotees. If the characters appear a bit of clean, the addictions emerge in sharp reduction.
Benumbed by a demanding world, left alone too lengthy with their telephones, these eight folks have fallen to this point down the rabbit gap of on-line group that they will’t join in actual life. Satisfaction solely exists within the realm of clicks and swipes.
Velma (the charming Kuhoo Verma), a lonely younger girl who's new to the group, sings of lastly discovering her tribe on-line after years of alienation. The enjoyment of this awakening is marred by the dawning realization that she’s now a hard-core junkie, responding to each ping with Pavlovian zeal.
Irrespective of if you happen to’ve ever performed Roblox or gotten sucked into the giddiness of TikTok, it’s arduous not see your individual reflection right here. If the characters lack a sure specificity, it’s all the higher to throw us again on our personal private relationship with screens.
The present’s haunting readability solely dims when it reaches too far into the realm of the supernatural with a scientist (J.D. Mollison) staging an epic tug-of-war with god. These spiritual overtones and conspiracy theories really feel a bit of tacked on.
Probably the most compelling thriller right here stems from the fantasies that sparkle endlessly from our palms. That is theater as a remedy, a play with the facility of a ritual that makes a deep emotional influence that transcends mere leisure. The ideas and emotions the present triggers hit arduous.
In reality, leaving the theater you might end up resisting the deep-seated impulse to verify your telephone. You could in the end give in, whilst I did, however that hesitation nonetheless looks like a very good first step.
Contact Karen D’Souza at karenpdsouza@yahoo.com.
‘OCTET’
By Dave Malloy, introduced by Berkeley Repertory Theatre
Via: Could 29
The place: Berkeley Rep’s Peet’s Theatre, 2025 Addison St., Berkeley
Operating time: One hour, 35 minutes, no intermission
Particulars: $29-$159; 510-647-2949, www.berkeleyrep.org