Review: ‘Theater of the Mind’ is trippy, unique and will make you question whether you can trust your memory
Before my adventure into the world of “Theater of the Mind,” I wasn’t really familiar with David Byrne or the Talking Heads. I’m more of a hip-hop guy and the Hall of Fame rock band had its heyday before I was born. But if I didn’t know Byrne before, I certainly feel like I do now — and not because I recently met him in person for a private preview of the new project, but because the actual show is a trippy journey through his memories.
The Goodman Theatre is taking a big swing in its historic 100th season with this immersive production. Artistic director Susan Booth said the theater had never done anything like this, noting that she wanted to, “rattle the cage of what constitutes theater.”
Enter “Theater of the Mind.” Located in the Reid Murdoch Building in the Loop, and running through July 12, this show exists somewhere in the margins of creepy festival funhouse meets cool high school science experiment. It’s trippy. It’s unique. And somewhere buried in the cool head tricks there is a story about revisiting the pivotal moments of our lives and questioning if we can trust our own recollections.
The storytelling here is not the production's strong point. How much that matters is debatable — when you’re sitting on a tiny stool in a closet-sized room so dark you can’t see your own hand 6 inches in front of your face, storytelling takes a back seat. No spoilers here, but the optical illusion that takes place in this moment feels like a magic trick.
The experience Byrne has crafted, along with director Andrew Scoville, transcends what audiences imagine when they think “theater.” When you enter the first room, you are instructed to pick a name tag from a replica of David’s house, and that’s who you become for the rest of the show. I became Meera.
As you move from room to room, you’re guided by your own unique “David,” who you meet at David’s funeral. That’s what sparks the journey into David’s memories where you are met with a blend of art and science that truly pulls you into the show. My David, portrayed by Elizabeth Laidlaw, refers to Meera as the best dancer he’s ever met. In the disco room, underneath the flashing lights, amid the pulsating music, I enjoyed my moment dancing with David.
The show is best served by not giving away too many specifics, but it is important to note that everyone will have a unique experience. Dressed as a 2-year-old version of the musician, the Davids who serve as guides interact with audience members, only 16 of whom can partake at once, and the responses, feedback and participation from the audience will shape the way the narration lands.
Everything inside the funhouse is expertly crafted, which comes as no surprise considering Byrne is the mind behind the eccentric exhibit. He’s an artist’s artist and even during the private preview, he pointed out how much attention to detail would be in every nook and cranny. Scenic designer Neil Patel nailed it, making every room feel like a new world, including a larger-than-life kitchen and a dusty art-filled attic.
Throughout the evening, everything we believe that depends on our senses is challenged — from taste, in a unique experiment involving lemons, to sight in a hilarious game that throws off our depth perception, to experiencing what it’s like to be the size of a toddler.
At the end of the night, it doesn’t feel like you've seen a traditional show — or been told a cohesive story. Everyone will find their own message to take away from the experiments and games, which is a cool touch — what the production means to me likely won’t be the same for you. But the experience itself is enjoyable and will lead to extensive conversation of memory and sense of self, which is a mark of great theater.