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fourteenacross · 6 years ago

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octet - 5/25/19, 2pm

Hello, hello, I'm back from New Jersey! Which, you probably didn't even know I left, because I never post here anymore, but since we've yet to find a new platform for fannish happenings, I don't really have anywhere else to post show notes and the like.

Anyway, we saw Octet and Hadestown over the long weekend. I saw Hadestown at the NYTW in 2016, but I saw it the same day I saw Hamilton for the first time and my notes are lost to the ages. More about that later, though. (Tomorrow, probably.) For now, I'm going to focus on Octet.

So, here's what I knew about Octet going in: - Part of Dave Malloy's five year residency at the Signature Theatre - internet/discourse - Alex Gibson - a cappella? - support group?

The day before I did a little bit more digging, but I was kind of into going in blind, so I didn't dig too much.

Overall, I really liked it! My above the cut review is that, like all good Malloy shows, it brought up a lot of interesting concepts and shined a light on very relatable behaviors and ways of thinking. It doesn't really have a plot or narrative, and seems to largely exist to explore different types of internet denizens. As such, the characters vacillate between being actual people and being archetypes. I think all of this is fine--not everything needs to be a tautly plotted story, it's okay for this to be a song cycle, not a narrative musical. But I'm putting that out there for anyone who's thinking about going, just so you're aware when you head in.

First off, the set dressing is amazing. It looks just like a ratty church all purpose room, down to the way the light switches are labelled and the signs on the wall with clean-up instructions for group leaders. The walk in is papered with flyers advertising self-help groups, tutoring, charity walks, etc.

The show is set up like a support group meeting. A couple actors come in before the start and clean up the detritus of a bingo game and set up for the meeting, and then the group gathers and they begin. The group is “Friends of Saul,” and group members are told to put their phones off and in a basket against the wall, as they're here for various screen addictions.

Hymn: The Forest: This was a very Malloy song--it starts off a a meditation on a beautiful forest and takes a left turn. Delightful. Halfway through, Velma comes into the meeting and joins the other seven folks for the end of the hymn.

Refresh: Paula, the group leader, welcomes Velma to the group and tells them that Saul can’t be here this week, but he’s asked her to lead. She then asks if anyone wants to share. Jessica acquiesces and talks about how she was the subject of a viral video and has been "egosurfing" ever since, a compulsion to read all the shitty things strangers are saying about her without knowing her at all. (Unsurprisingly, Malloy says this song was heavily influenced by his feelings post-Comet.) Margo Seibert kills this song, which delves into our kneejerk tendency to pile on, sometimes without knowing or caring about context. It made me think a lot about how this goes both ways--the song focused on the negative, but obviously Milkshake Duck Syndrome is the same basic concept at its core.

Candy: Henry offers to share next. He talks about how his life is going okay at the moment, he's been on a few dates, but he hasn't had the heart to tell the guy about his "problem" yet, which is that he's addicted to video games. The song obviously invokes Candy Crush, but also refers to various other games including MMORPGs, FPSs, RPGs, and other phone puzzles games. I love this song--it is insanely catchy, Alex Gibson is delightful, and it's also profoundly sad and relatable. Henry eventually reveals that he uses games to avoid the real world and he's fairly sure he doesn't care if he dies, so he uses these games to string himself along and pass the time. Ouch. Also hashtag relatable content.

Glow: Paula shares next and talks about how she and her husband are both screen addicts and how they'll lie next to each other in bed, each on their own devices, ignoring the other, and how she wishes he would stop bringing the catastrophes of the world into their bed. She's lonely and sad and he doesn't see it because he doesn't look up from his phone. Starr Busby is incredible and, as a person who had to take an eight-month twitter break because she couldn’t handle the constant barrage of despair, I feel this song pretty hard.

Fugue State: Paula sets a metronome ticking for a five minute silent fugue state. The characters cycle through various thoughts about social media and the internet, calling out specific formatting for jokes and call out posts and "um actually"ing other people's comments in a whirlwind of commentary on how we interact with each other online. It's a very well put together song, but it's another one of those moments where it's clear this is a collection of songs about a concept rather than a narrative story.

Hymn: Monster: There's a five minute break, in which Henry approaches Velma, who's been quiet up to this point. She launches into a fast and awkward explanation of how she's on a self-imposed internet hiatus because she keeps getting tied up in discourse that's not good for her. She talks about being a part of a previous group that was not good and how she's since gotten into tarot instead, but there are parts of that group that aren't good, too (she delves into the Sephora Starter Witch Kit debacle), so instead she's taking a break and only talking to her one friend, whom she refers to constantly as "my friend." It was a very stark moment of self-recognition, tee bee aitch, and Velma is definitely the closest to the fannish millennial internet archetype. She says she found the group after Saul broke into a chat with her friend to tell her about it, so her friend said she had to come to check it out. After her monologue about all of this to Henry, the others return from their break to sing a hymn called "Monster" that talks about online trolls and how engaging with them and reading their exploits poisons your brain.

Solo: Karly and Ed alternate in this song, coming together in moments of similar sentiment. It's really an interesting way to handle the topics in question. Karly is singing about dating apps and how hard it is to find a dude who actually cares about her and the thin line between being asserting herself and the possibility of being the impetus for another MRA mass shooting. Ed, meanwhile, is a lonely dude who is on the verge of turning to the incel community because they can relate to his feelings of rejection and isolation. The whole thing is creepy and awful and very well blended--there's some empathy on both sides, while also making it clear how awful these dudes are.

Actually: This is Toby's song. Toby is a former punk kid turned conspiracy theorist. This is the song I struggled with the most. I just couldn't follow it narratively--I wasn't even 100% positive about the "conspiracy theorist" part until I could come home to read the lyrics. The lighting in this song was wonderful, though, and the ensemble was great. It just didn't click with me and it was harder for me to follow.

Little God: Dang, I loved this bit. It was the weirdest, and also had a distinctly Douglas Adams flavor, which was especially apt as I was attending the show on Towel Day. (So, honestly, it’s not surprising that I liked this bit so much, in retrospect.) Marvin, a neuroscientist, is up late with his new baby daughter when he has a vision from god. He chalks it up to a dream until god appears to him again the next morning. He goes to his lab, where all the other scientists have had a similar experience, and god appears to them in the visage of a little girl, whom they call Little God. They do a series of tests to prove whether god is real, and can manage to find scientific explanations for them all, trapped in this cycle of seeing wonderful things and then dissecting them clinically. Velma ends his story by telling him he's "The Hanged Man," the tarot card that represents everything one believes about oneself being flipped on its head.

Tower Tea Ceremony: The group starts a tea ceremony, passing around cups of tea, after which Paula comes around adding drops of something to the cups. Velma nervously asks what it is, and Paula calmly explains that it's a powerful group psychedelic that induces a five minute coma. Everyone else is chill with this, but Velma is visibly startled and nervous and does not drink her tea. Everyone else passes out, leaving her alone.

Beautiful: While everyone else is passed out, Velma sings her story. She was lonely and felt ugly and fat and stupid. She spent a lot of time alone and cut herself, but eventually found another girl just like her on the other side of the world. She had the same interests and liked the same things and felt the same way. She tells Velma that she's worthwhile and that there's light inside of her and, through seeing the same within her friend, she's able to start to accept that about herself. Kuhoo Verma is something else entirely on this song. It felt so personal and quiet and perfect. And, to be honest, it really anchored the show for me. After almost twenty-five years of being a nerdy, lonely kid on the internet, I tend to be very kneejerk protective of internet friendships. When people deride the internet as toxic, my urge is always to defend it because it's the source of all the good things in my life. I didn't have a lot of friends as a kid and I was socially anxious, but the internet was a way for me to meet other people who liked the same weird things I liked. These days that's a much more common, accepted story, but it was weird and new in 1996, so I spent a lot of years either lying about how I knew my friends or insisting that the internet wasn't just pedophiles and murderers. Obviously in the years since, the internet has grown into something bigger and, frequently, more toxic than I could have imagined at ten, eleven years old on the AOL Jonny Quest message boards. The urge to defend it has never gone away, however, and so I was obviously a little nervous about this show. But I trust Dave and I know that he's a big ol' nerd like the rest of us and doesn't pretend to be above our petty, silly forms of entertainment. And I'm glad I did, because it's important to me that this was the song he ended on--a quiet reminder that there's good to be found on the internet, that it's not all bad, that parts of it can be life-saving.

Hymn: The Field: The show ends with the group closing out their meeting with another hymn. Paula tells everyone next week’s meeting will be somewhere else and that she’ll email the details. Velma says she isn’t sure if she’ll come back, and she’s told that it doesn’t matter—the same people don’t always come week to week, but Saul will make sure there are eight people in attendance. The hymn is a nice, sweet song about coming together beyond the fighting and ugliness to appreciate each other and the world.

So, yeah, overall, I enjoyed it. I really needed to sit and think about it for a little bit after first seeing it, and I think repeat listenings will find a lot more to enjoy about it. Like I said, there’s not so much a story or narrative to get lost in, but the individual songs hold up well in the loose framework of the show, and a lot of them are both catchy and thought-provoking in a very Malloy way. I’m glad I got to see it, and I’m interested to see where it goes from here, if anywhere.

#octet #dave malloy #show notes

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