Contributed by Marcus Dargan
“It is a truism that many who join a rising revolutionary movement are attracted by the prospect of sudden and spectacular change in their conditions of life.” —Eric Hoffer,
The True Believer: Thoughts on the Nature of Mass Movements
Asa Merrit’s new play True Believer is a romantic tale between a young journalist (Kersti Bryan) and a nondescript revolution: girl meets radicalism, girl falls in love with radicalism, girl loses radicalism, girl regains radicalism.
The journalist is 20-something, educated, privileged, talented, naive, and unfulfilled. She has all of the makings of the Occupy Wall Street generation; however, she is not content with sitting in the park or writing unpublished prose. She wants immediate change. She wants to blow shit up.
True Believer explores these themes of identity, angst, and alienation in a subjective narrative indicative of Salinger’s Catcher in the Rye and the insomnia induced rebellion of Fight Club. It represents the contemporary desire to evoke radical change within a complacent society content with simply singing petitions on Change.org.
As our protagonist, Kersti is endearing and naturally charming. We get her and we all know her. She introduces us to her family and friends, and we know them. She gives us free beers and we like that.
She talks directly to us, we listen and provide feed back. We watch her untangle her thought process one page at a time knowing that she’ll return to her senses before it’s too late. We know she’s smart. She’ll come back before she gets in too deep. She does. We breathe. We help her clean up the mess she’s created.
Kersti weaves her story in a very intimate setting accompanied by composer/musician Bay Bryan, whose voice and guitar deliver a warm and familiar tone. The underscoring of his riffs, the slight bleed of gospel/blues music from an adjacent floor, and the faint roar of traffic from the street create a complimentary soundtrack.
All of these elements combine to transform us from Chicago to Cairo to Washington. We sit at her parent’s dinner table, hide in her darkened apartment, and hole up in a terrorist den seamlessly as Kersti’s storytelling, Bay’s music, the audience’s breath, and the universal soundscape align for this journey.
If only revolution could happen so effortlessly.
April 17 – May 9, 2015
Fridays at 8 pm. & Saturdays at 8 p.m. & 10 p.m.
Special Industry Performance | Sunday, April 26, 2015 at 7 p.m.
Additional Performance | Friday, May 1st at 10 p.m. Theaterlab
357 West 36th Street, 3rd Floor New York, NY 10018
Tickets | Visit OvationTix.com or call 212-352-3101