Sing

This passage tapped into my surreal vein, or what I call surreal, which is more what people mean by surreal than what the art world classifies as Surreal. So, surreal. My first impressions of the passage were paranoia, claustrophobia, persecution, despair, exhibition, voyeurism, display.

On display, surrounded, people staring, casting lots…this performing or feeling like you're performing…this personal stage fright and existential stage fright…this being crucified led to the quasi-metatheatrical twist.

Who has forsaken she? Is She forsaken? Is He? Where's the power? What do we demand of that power? What are the audience's expectations? Who are we performing for, and what for? What does She need to sing? Why sing?

The play plays with notions of freedom, perpetuity, entrapment, progress, and (old school) how to live right – how to sing? And…is the world what you encounter or create or fake? Put on a happy face. Sing.