This show runs like a collection of vignettes, almost, circling themes of desire, family, identity and suffering; a woman both going through the motions and drowning under the weight of her unspoken screams.
Köster and team have pulled together an incredible staging for the series of scenarios, an imaginative, twisted take on parental abandonment and filial devotion.
The piece begins, rewinds, restarts, stops, and progresses, degrading in the way that a VHS tape would after too many viewings.
Affably accurate-but-imprecise, he served as an enjoyably unreliable tutor, using the lecture as a framework to spin off into a blend of gameshow, prop comedy, and improvisational music.
Every movement, gesture, and flick of the fan enhances the timing of her jokes and her darkly comedic delivery. The humor is unapologetically black, yet she handles serious topics with irony, allowing the audience to confront difficult subjects through laughter without feeling manipulated or uncomfortable.
Ortiz Amezquita enters carrying small travel cases, and begins with a play of light, mirrors, reflection and projection. It is a fitting introduction to the piece, an intricate work of object storytelling, self-portraiture through shadow and sound, thinking back and calling back, falling in and out of history with his story.