Well, that was…something?
The “play” is Steve Cuiffo alone on stage, interacting with Lucas Hnath’s voice on a tape recorder playing back their conversations in 2021 and 2022 when they were discussing what this play would be. Cuiffo reenacts his part of the conversations live. (I confess I’m not entirely clear on whether these conversations were the actual recorded conversations between the two - obviously excerpted - or scripted material purporting to be informal conversations, but my impression is the former.)
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In the last segment of the show, the recording switches to one between Cuiffo and his wife.
When Hnath asks Cuiffo to show him a magic trick, Cuiffo shows us. When Cuiffo explains to Hnath how a trick is set up and performed, he explains it to us. There’s a lot of talk about process, about insecurities, about childhood trauma, about what people don’t like about magic. And ultimately it doesn’t amount to much at all.
The magic itself, which is ultimately a minor part of the show, is pretty basic stuff (cups and balls, torn and restored newspaper) executed in a pretty basic fashion; Asi Wind’s Inner Circle this is not. And the use of recorded voices, which I understand served a theatrical narrative purpose in Dana H. (which I regrettably missed), just seems a tired gimmick when there’s no actual story being told. There were moments when I thought the piece was approaching some insight and might have something to say about taking from others’ work (as almost all magic does) versus creating something wholly original. But then it would U-turn into muddled exchanges about what trick Cuiffo might do for his wife.
Yet even though I was left at the end wondering what the point was (or if there was one), I can’t say I hated this. Cuiffo has a pleasant enough stage presence, and there was enough there to hold my interest. There might be something this could develop into; I’m not sure what, but it’s definitely not there yet.
Updated On: 5/29/23 at 12:32 AM