Think about a cluttered workshop. Think about two quirky employees. Think about an immense house crammed with fascinating shapes. Think about the attractive geometry of traces and planes and angles interacting with mild and movement.
If I have been to counsel that one would possibly see this present merely for the poetry of the shadows and really feel properly rewarded, and also you have been the kind of reader who understood what I meant by that and bought tickets posthaste, you’ll be exactly the form of viewers that’s excellent for seeing Alex and Olmsted’s latest efficiency piece, Actually Fairly a Lot of Mechanisms. My editors, I imagine, may be sad with a overview that stopped there. For those who are that particular person, use the ticket hyperlink proper now. The truth is, on your comfort, right here it’s.
Actually Fairly a Lot of Mechanisms begins with music, a shadow puppet sequence in opposition to a scrim, and no phrases. This present is sort of completely visible storytelling, although there may be sound of significance, and vital sounds.
When Alex and Olmsted — Alex Vernon and Sarah Olmsted Thomas — greet us (utilizing phrases) and ship an introduction to easy machines, the sequence is much less concerning the machines and extra concerning the viewers. Alex and Olmsted’s faces convey satisfaction, encouragement, warning, disappointment, expectation … these are impressively expressive performers. There are not any extra spoken phrases for the rest of the present. I doubt you’ll miss them.
Aesthetic: patinated workshop, acquainted, but in addition puzzling. The impact is akin to being dropped into an untidy however absolutely useful vintage toolbox. What’s this for? How will they use that? Observe the set, which is nothing like a backdrop. It’s organized strategically, layered in three dimensions, with classic gadgets which can be typically what they’re and typically one thing else solely. The eye paid to visible element is astounding. Every merchandise appears chosen for perform, kind, aesthetic integrity, and the sounds that it makes when it’s being dealt with. I’m just a little distracted by the shine on just a few of the objects — my mind desires them to be dented, rusty, scuffed, or distressed — however there are a number of maybe intentionally shiny issues on the set. I inform my mind to cool down.
The story (and there may be one) follows our two quirky characters in what’s established as their atypical day, days, weeks — we’re not essentially positive what sort of timeframe we’re seeing — the place they exhibit, function, even construct mechanisms. All of it appears very summary till instantly it’s fairly pointed.
Perhaps don’t trouble attempting to determine “what’s happening right here” when you watch. You danger depriving your self of the enjoyment of unfolding. Simply observe and marvel — there’s a lot. The expressiveness of the characters, the fascinating units, the peak and breadth of the house, the majestic lighting, the rigorously curated music, the gradual rise of emotion, the involvement of extra than simply two of your senses — that is actually an immersive piece of labor, very practically an set up. A lot of it’s unsettling and unusual. A few of it’s acquainted and reassuring. Traditional clown methods are packed into this very full 70-minute present. There are additionally references, homages, or continuations to the works of Jim Henson, earlier Alex and Olmsted exhibits, Charlie Chaplin, and a 1971 Moody Blues album. The artists delve deeply and extensively.
The impact of the lighting design by John McAfee is unimaginable to overstate. The interplay of things on the set, lighting colour, depth, timing, movement, and the construction of the constructing itself are magical and sumptuous. Board operator Nicholas Boone’s impeccable execution of technical components not managed onstage is organically seamless.
Alex and Olmsted have proved themselves over time to be high-caliber conceptual creators and technicians working in an oft-misunderstood style. Sure baggage comes with the phrase “puppet,” a minimum of right here within the U.S. The work of Alex and Olmsted goes far, far past Captain Kangaroo, Avenue Q, Pinocchio, and The Muppets. Their earlier works have been marvelously completely different from each other in subject and meeting, all the time with a lofty stage of inventive integrity. In a present that’s in some way extra completely different than any of its predecessors, and in addition very like them, Actually Fairly a Lot of Mechanisms is an intricate, evocative tour-de-force of development, joinery, scope, and theatricism. Although it has hallmarks of a totally completed piece, I believe A&O, inherent tinkerers, will tinker with it considerably. Do avail your self of the chance to see this present in its nascence, so you may benefit from the results of its evolution at a later time.
Working Time: 70 minutes, with no intermission.
Alex and Olmsted’s Actually Fairly a Lot of Mechanisms performs by March 29, 2026, introduced by Alex and Olmsted acting at Baltimore Theatre Mission, 45 West Preston Avenue, Baltimore, MD. Buy tickets (common admission, $25; seniors, artists, and college students, $15) on-line, by telephone (410-752-8558), or on the door, although I wouldn’t danger that final possibility. This present deserves to promote out each efficiency, and I hope it does.
No printed program is obtainable. This system is on-line right here.
Avenue parking is obtainable close by, and typically free.
Closing Factoid: I like the theater in Theatre Mission. The seats are a delight, the rake perfection, and the sightlines unimpeded. It’s, nonetheless, difficult for the mobility-impaired to entry. There are exterior elevators for individuals who want them. Calling forward appears prudent.
Alex and Olmsted’s Actually Fairly a Lot of Mechanisms
Devised by Alex and Olmsted
Lighting Design by John McAfee
That includes Alex Vernon and Sarah Olmsted Thomas
Board Operation by Nicholas Boone
