The conceit of the show is that we're all there to see a one-man show of the movie American Sniper, in which Bradley Cooper plays real-life NAVY Seal sniper Chris Kyle, who claims to have killed 160 people in four tours in the Iraq War (among other things). But the actor doesn't show up, so box office manager Michael is asked to step in and do the show. He protests for a while, but eventually, with audience support, agrees to do it. And then throws himself fully into the performance, even when technical difficulties happen. But he also seems a little conflicted about the subject matter, and finds it difficult to act these things out and say the words that I'm assuming are direct quotes from Chris, his book, and/or the movie.
The Southern is completely bare when the show begins, but a few impressive set pieces and props are brought out as needed. Lighting and sound design are used very well in the storytelling, with a great soundtrack of classical music, and one Lana Del Ray song that ties everything together in unexpected ways. A well-edited video shows a complication of media reaction to Chris' life and death, as well as some original video. There are also moments of silence, which are equally effective and unsettling.
The show is difficult to describe, perplexing at times, but utterly fascinating and very well constructed with great attention to detail. It's the kind of art we need in these strange and terrifying times, especially as we mark 250 years of complicated history as a nation. But the show doesn't tell you what to think or how to feel about anything, it just lays out ideas and facts and concepts in a way that makes you question everything. Whom do we call hero? Whom do we idolize, and why? The history of the world is a history of war and violence; how and when will that end?
In The Backroom was co-created with Mads Plonski, Caleb Byers, Claudia Errickson, and Madeleine Rowe, lighting design by Claudia Errickson.
