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HEATER REVIEW | 'JET LAG'

Going Places in a Media-Saturated World

Jennifer Taylor for The New York Times

avid Pence in a scene from Jet Lag.

y JASON ZINOMAN

ublished: September 29, 2010

he dazzling shows of the BuildersAssociation make just about

very other theater company look as if its living in the past. Three-

imensional computer animation, floating videos, seamless

ntegration of the real and the virtual the eye-popping stagecraft

eems from the future, but the content is typically of the moment.

Technology moves fast, so the revivalof the groups 2000 drama Jet Lag

a moody, multimedia production

that surrounds its puzzled characters

in a media-saturated world is,

perhaps inevitably, going to seem like

a period piece. Staged elegantly by the

Builders artistic director, Marianne

Weems, with the help of the

architectural firm Diller Scofidio and

Renfro, Jet Lag follows two tragic

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2/3



THEATER

'Jet Lag'An Excerpt

SHARE

version of this review appeared in print on October 2, 2010, on page

10 of the New York edition.

characters escaping the world through

travel.

A British sailor (an anxious, deadpan

David Pence), loosely based on a real

person, fakes a voyage around the

world with the help of a video journal,

and an elderly woman (Moe Angelos)

and her grandson embark on 167

consecutive transcontinental flights set

in a nonspecific present. The narratives

are as simple as fairy tales, and the

setting seems to be less a distinct place

and time than a virtual world of

amplified voices and moving screens

where nothing is exactly as it seems. In a consideration of the show in 2000, Herbert

Muschamp, then the architecture critic for The New York Times, described the media as

he main character and compared those that are human to something out ofThe

Matrix.

he production can seem a little cool at times, in the way that the movie 2001 does,

ut there is a hypnotic and ominous point of view behind this mood. The look of Jet

ag remains startling, if not as ambitious as more recent shows that work harder to

lend the virtual and the real, and to employ a less conventional structure.

oday when someone wants to escape the world or create a fake life, they probably do so

nline. The distracted characters in Jet Lag use technology to isolate themselves, but

hey also physically go places, even if where those may be is something of a mystery. The

ind of loneliness portrayed here seems different from that in an age of social

etworking.

he most striking visual in Jet Lag is a three-dimensional animation of the interior of

n empty airplane getting built, row-by-row, right in front of your eyes. After Sept. 11, of

ourse, a crowded plane might be more chilling than a deserted one, but this is still a

otent image. This show makes you feel as if you are living in a video game, while more

ften, in todays world, it can seem as though you are lost in the chaos of a crowd.

Jet Lag continues through Sunday at the Alexander Kasser Theater, Montclair State

University, Mont clair, N.J.; (973) 655-5112, peakperf.org.

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