Review: Absurdist Comedy OROBORO More Unsettling Than Funny at 18th and Union

Conceptual productions are tricky because the play has to find that balance of being cerebral and being entertaining, especially when you market yourself as a comedy. As a part of 18th and Union's "Oddballs and Misfits" series, human spark plug K. Brian Neel's "Oroboro" is a one-man acid nightmare that shows off his performing skills, but the show gets too wrapped up in being conceptual to be funny.

Come with K. Brian Neel on a tour through his museum of absurdity. Neel uses interpretive dance, cyclical language, and disturbing characterization to demonstrate a concept. There is no cohesive narrative in this story. Neel plays a variety of different characters, all of which are quite hellish. Neel flounces from episode to episode, none of which seem to be related (though he sporadically returns to a previous moment). It's like channel changing on a TV in hell.

Neel is an impressive, committed performer. He becomes these grotesque characters--from a disturbed dumpster child to a decrepit old woman living in a tree house. At times, characters transcend their surreal environment and their tragedy feels quite human.

I applaud Neel's theatrical endurance; he created a show that requires a lot of physical and mental stamina. He lands the dismount of some really impressive verbal gymnastics, phrases that are hard to get your mouth around, and he does so at top speed. And just as you get adjusted to the language, Neel whips into the next episode, already a new character in this waking nightmare.

If you're sitting in the front row, know that you're automatically consenting to being a part of the show. Neel sits next to an audience member and instigates a game of telephone. where each audience member whispers sweet nothings to the person beside them things like, "You're beautiful because I love you." Then that sweetness will be whiplashed into oblivion as bug-eyed Neel reels back, points at a poor, unfortunate soul in the front row and tells them how they will spend an evening together.

The problem with this show is not the performance. The problem with this show is the content. It has the feeling of being conceptual in that it's referential and odd, but the point gets lost. Or more so, any point beyond "life is cyclical" gets lost. This show feels very much like a nightmare: it's scary, it's episodic, and you say "yes" to whatever is happening because you have to (not because it makes sense). These episodes don't seem to be related to one another, though Neel will occasionally return to a previous scene.

"Oroboro" has no cohesive, linear narrative, which can feel frustrating. It's an absurdist production, so trying to push through in hopes that the show will eventually make sense will get you nowhere. The problem is that this absurdist production markets itself as a comedy, but it's not funny. It's uncomfortable. It's confusing. It showcases Neel's talents as a physical performer. But even the most abstract absurdist comedies will make you laugh. This doesn't.

Go in knowing that "Oroboro" is a conceptual show. The concept, "life is cyclical", will beat you over the head with a bowling pin, and leave you dizzy. For Neel's commitment to his unhinged horrorshow, I give "Oroboro" a creeped-out 2/5 stars. Enjoy, Lars von Trier fans!

"Oroboro" performs at 18th and Union through February 11, 2017. For tickets and information, visit them online at www.18thandunion.org/oroboro.

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