“Cuts to the essence of theater.”

“On a Pepto-Bismol–pink stage fringed with purple boas, four sweet twentysomethings look ready for a high-school reunion. They sport name tags and blazers; they even crack beers. But they also break into violent dances, toss one another from chairs, improvise hilariously horrible dreamscapes (“So I’m full of huge parasitic worms—you’ve seen a fettuccine maker?—I look like that,” one actor relates) and advance threateningly on the audience. Each event only lasts a minute, and it’s clear the performers have no idea which minute is coming next. The four take their cues from scene lists at the foot of the stage—they rush forward to learn their next task and then gamely hurl themselves into it. Director Dan Safer perches nearby, keeping order with a stopwatch. This is avant-vaudeville, conducted with brio and a cheery disregard for the fourth wall. (“Hi, Jess!” yells performer Mike Mikos, as a tardy friend creeps in.) Everyone has a grand time (including the absurdly charming performers). Safer’s group feels so comfortable with radical techniques—borrowed from icons such as the Wooster Group and John Cage—that they can redirect them into pure frolic. It’s liberating and silly, and their aesthetic forebears might even find it an awfully fun reunion.”

“a celebration of joyful theatricality. The group’s four appealing performers bound around the stage, telling a fractured, movement-based tale of love and Pavlov, in one of the more pleasingly playful shows in town.”

“infectious and exciting.”