It’s challenging, certainly, to confront an audience with, well, itself, especially in a time when theatre seems desperate to shuffle anyone through the doors: but it’s all very skillfully, unflinchingly executed in this theatre no. 6 production.
Thingelstad’s an actress capable of bridging into the emotions necessary to make so much heady, intellectual ruminating affecting, too—and capable of maintaining interest and pace in a 90-minute solo—using an undercurrent of a sense of realization that seems to make us complicit in her thoughts.
Director Ian Leung finds variety in the approach, too: that chair finds quite a few uses, and though the fourth wall never quite breaks, there are moments when Thingelstad will make and hold eye contact. It’s confrontational, and effective.