Tuberculosis is probably the
most romanticized disease in European art and literature.
"Consumption," as it was once known, was seen as the beautiful decay
of intelligent and sensible people, aflame with creative inspiration and
sexual desire at the end of their often short lives. Until the advent of
chemotherapy and antibiotics in 1944, there was no effective cure for the
disease, which caused a lot of speculation and experimentation with diet and
environment. In the beginning of the nineteenth century, sanatorium treatment
started to become popular among the wealthy. The sick were advised to
retreat to the mountains and follow a strict daily routine under the doctor’s
supervision.
photo by Kate Schroeder
The Magic Mountain, written by Thomas Mann in
1924, is probably the most iconic novel illustrating life in a tuberculosis
sanatorium. T.B. Sheets, written
by Adam R. Burnett, draws its inspiration from the German classics (and
its title from a Van Morrison song) and creates its own limbo between "the
valley" and the sky, life and death. The patients exist in a constant
state of transformation. Even their names change as the play progresses. The
One Who Composes Sounds and Visions becomes The One Who Keeps Time, and then
Saint Definitelynotbluejeans. All of the proper nouns are descriptive of a
state or an occupation.
All gender specific pronouns are eliminated. This gender
fluidity is also reflected in the casting and the quirky costumes by Baille
Younkman. Freed of the limitations of binary sexuality and encouraged by their
very unconventional doctor (who, for instance, prescribes more cunnilingus to
one of their patients), the inhabitants of the sanatorium venture into an
exploration of their desires. Creativity, both in arts and in sex, leads them
to the acceptance of their bodies as they are.
Despite the debatable parallel between tuberculosis and
gender fluidity, T.B. Sheets is a reassuring, poetic and
occasionally funny play with songs. Entering the sanatorium with The One Who
Has Come From The City To Heal (Moira Stone), you might at first find its
occupants teetering on the edge of insanity. But as Stone’s character
transforms into The One Who Accepts Their Sickness, you may find yourself in
love with the whimsical characters, each of whom gets a spotlight in the show.
Unfortunately, as directed by lisa nevada, the collective of
patients and staff never truly become an ensemble, and, at times, the entire
show seems like a party of art college students. Everybody is preoccupied with
their own persona and stars in what they think is a play about them.
Eliminating elements to their essence proves to work, as with the scenic design
by Nicholas Kostner: in addition to six panels upstage which double as
screens for projections by Jeanette Oi-Suk Yew & Masha Tsimring, the
sanatorium interior consists of only two chairs and tree chaise lounges with
ashtrays glued to them. T.B. Sheets would
benefit from some further fine-tuning of the performances.
__________
T.B. Sheets plays at the Jeffrey and Paula
Gural Theatre at A.R.T./New York Theatres, 502 West 53rd Street, through
May 27, 2017. The running time is two hours with no intermission, but a
“dance and beer” break towards the middle of the play. Performances are
Monday at 7:30; Wednesday through Friday at 7:30; Saturdays at
2:30 and 7:30; and Sundays at 2:30. Tickets are $25-$35, $15 for students
and are available at thetanknyc.org.
T.B.
Sheets is by Adam R. Burnett. Created by Buran Theatre. Directed by lisa nevada & Adam R. Burnett. Scenic Design is by Nicholas Kostner. Lighting, Video and Puppetry Design are by Jeanette
Oi-Suk Yew & Masha Tsimring. Costume
Design is Baille Younkman. Original Sound
and Music are by Broken Chord. Choreography is by lisa nevada. Production
Stage Manager is Kathryn Sykes.
The cast is Brady Blevins, Danny Brave, Maybe
Burke, Nehassaiu deGannes, Yuki Kawahisa, Daniel Nelson, Colleen O'Neill, Lori
Elizabeth Parquet, Tina Shepard and Moira Stone.
__________
This review was published at theasy.com on 5.22.2017
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