From the tone of her review, so was she:
"Though it may sound like a heavy offering (BIG IDEAS), Chaos, and Other Worldly Possessionsis surprisingly playful. The play subverts and inverts theatrical conventions to the point where the fourth wall becomes little more than a suggestion. Teague wisely injects his text with moments of unforced humor, making the darker turns in the play easier to digest. Director Amy R. Surratt stages the proceedings with a lot of fluid movement. The play may take place in a stalled train car, but the performance itself never feels stalled. The collaborative nature of the creation of this show has also given the actors a level of comfort with themselves, the text, and each other. Despite the stylized nature of the play, no moment ever feels forced or unearned."
There are six more performances, so don't miss this incredible cast make hash of the idea of what "experimental theatre" is supposed to be.
As Amanda says ...
"Then I read the notes from the playwright in the program and my interest turned to fear. “The thing to do, this troupe of players says in this play within the greater play we call life, is to turn around,” Teague writes. “Head East. When the linear fails, find the circle; the infinite point; the instant when everything exists -- and doesn’t.”
Oh no, I thought. Oh no oh no oh no. This is one of those Big Idea plays."
Wait ... not that part. This part:
"However, when the lights dimmed and Chaos, and Other Worldly Possesions began, a single member of the ensemble (Cassandra Andrus) stood before the audience and encouraged us to drink. The play, she assured us, would be better if we drank. I knew in that moment I had nothing to fear. Any show that is self-aware enough to encourage boozing was going to be fine."
Everything is going to be fine. You are beautiful. Just come to the show, let it all go and enjoy.