Naropa School of the Arts’s Slice 1.0 is many things. Installation. Performance. Demonstration. The show’s poster reads “Caution: Could be political, spiritual, beautiful, ordinary, thoughtful, challenging, heartfelt.” The piece is in response to Trump’s election and the apparent rise in prejudice and discrimination.
When you walk into the theater, all you see are chairs strewn about, seemingly at random. They all face different directions, there are no two chairs next to each other. There is a stage but not all the chairs face it. There’s a screen with projections on it but only some of the seats face that too. So you pick a seat, alone, and wait for the show to start. The actors perform throughout the space, sometimes on stage, sometimes on the floor with the audience. Sometimes, they interact with audience members. Each person has a different view of the show, a different perspective. No two people will see it the same way.
This is a pretty bare bones play. The actors are dressed in all black. There is no set, very few props. The lighting is simple. But the ideas and emotions are what is powerful about this show. There are no distractions to get in the way.
Slice 1.0 is made up of vignettes. Prayers, philosopher’s quotes, images, Hamilton songs, and political monologues are all incorporated into this play. The screen shows images from social media, like the “Fearless Girl” sculpture, by Kristen Visbal, facing the Charging Bull, by Arturo Di Modica, on Wall St. in New York City. The show ended with a rage induced dance party on the stage.
Be sure to check out Naropa’s last performance, A Horseman’s Magic, as well.
Directed by Wendel Beavers
Madelyn Rose Robinson
Kristin Marie Stelter