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We’re in This Together: Bark of Millions and The Following Evening
A maximalist performance and a quiet, inward-looking play—both, somehow, about creative legacy and earthly (or human?) mystery.
That may sound tongue-in-cheek, but it’s only half a joke: Mac strives for a kind of inimitable maximalism — glittering, geyserlike performances that seem to call for an equally lavish and original outpouring of language to describe them. “I’d like to think it was noble, not foolish.” As she and Zimet crisscross the stage in a series of simple abstract movements — a deconstructed dance — they banter and reminisce, their voices minimally inflected and unsentimental, as if they’re in their own kitchen the day after a show, sizing up the performance. Yes, you could once rent an apartment in Soho for a hundred bucks, but, as Zimet muses, “it isn’t so clear-cut.” Late in the show, Avi Amon’s subtly stirring original music swells over the performers as they navigate back and forth across the stage, becoming almost inaudible in the crescendo.
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