This show is a gift. Mack Gordon reinvents the lyric essay—a literary form that packs a depth charge by juxtaposing fragments of different types of meaning—as an experience of communion.
This is all the more poignant given that the play has loneliness and loss at its centre. Gordon’s descriptions are vivid: his friend Sarah has “a smile like a broken-down picket fence”, the highway rushing under her beat-up car is an “animated grey-scale flipbook”, and his writing is equally informed by ideas (Anne Carson, Renata Adler) and ideals (he gradually enumerates new rules for living). In his generous, unpretentious, and intimate performance, Gordon keeps peeling back the skin of his structure to reveal the play’s (and his/our) heart, and its desire to connect and to beat faster. Beautiful.