Revealing the dependency on sight, “Theatre in the Dark: Dark” presents 16 bold vignettes that test all five senses. Successful in its experiment, “Dark” is a welcome departure from traditional theater without the precarious venturing into dangerous experimental territory.

Ranging from the nihilistic to the lighthearted, the one-act plays all serve one purpose: to make the audience engage with the concept of theater in a different way. All highly relevant, the vignettes present a variety of emotions and tones; some plays directly speak to the audience, breaking the fourth wall, while others are story-lined in the more traditional manner.

Without the lighting to guide the narrative, the plays are all highly reliant on verbose, graphic descriptions. Setting the scene without sight is demanding, but “Dark” showcases its strengths through accurate, vivid writing. Particular favorites include “The Tunnel” and “One of the Lost” for their ability to create a powerful, dynamic story.

Since the lighting is secondary (except to highlight irony), the plays work to boost the other senses. Animal recordings reverberate in the theater, signaling an adventure in the rain forest.

Eccentric Englishmen eat an aristocratic dinner with glasses chinking and silverware crashing only to eventually reveal the party’s true identity as ravenous vampires. Although sound is overwhelmingly predominant, director Ron Sossi also uses other senses. Adding to the ghost stories, sage is burnt to ward off any evil spirits with the smell permeating the theater.

Strawberries, chocolate truffles and Parmesan crisps are generously given to the audience as part of another story, offering a momentary indulgence in superb ingredients. Instead of relying on what is seen, the play experiments with sensory limits, investing in sound, taste, smell and touch.

As the 90-minute no-intermission play continues, the perception progressively becomes skewed. It becomes increasingly difficult to recognize the space and to accurately identify its dimensions.

– Natalia Evdokimova

Theatre in the Dark is a fun, unique experience and a once-in-a-lifetime chance to “see” a play in total darkness — as in total blackout while facing a pitch-black stage. Though we couldn’t see a single thing during Dark, not even shadows, I felt safe and enfolded in the velvety darkness as I filled my mind with the sets and actors.

It is marvelous how taking away one’s sight actually enhances it and this play delivered a true sensory overload that challenged our sense of hearing and even taste. Yet, as a result, the rest of my senses were fully engaged — especially when they started telling theatre-ghost stories!

Since there are actually no lights, costumes or sets to speak of, credit must go to the fabulous sound design by John Zalewski, who created a beautiful, haunting and sometimes scary sound score that went way beyond just being “theatre on the radio.”

The world premiere of Theatre in the Dark and its companion, More Dark, is an ambitious, two-evening festival featuring twelve actors, six directors and thirteen writers.  Each of the two 90-minute evenings are comprised of 12-15 short pieces, including original, commissioned plays by Sheila Callaghan, Ernest Kearney, Lynn Manning, Anna Nicholas and Ron Sossi.

The outstanding cast worked with a team of directors that includes Jeremy Aluma, Michael Arabian, David Bridel, Vesna Hocevar, Matthew McCray and Ron Sossi on a series of short plays and vignettes performed by the ensemble.

A highlight of the short plays was The Tunnel by Friedrich Dürrenmatt, which was haunting, and Elegant Dinner, by Anna Nicholas, which was sophisticated and hilarious.

The acting ensemble was comprised of Alan Abelew, Jack Axelrod, Marcia Battise, Denise Blasor, Ron Bottitta, Sheelagh Cullen, Jean Gilpin, Beth Hogan, Kristina Lloyd, Anna Nicholas, Cary Thompson and Terry Woodberry.

Overall, they were just amazing as their different voices resonated throughout the theatre as they brought these short plays to life.  Notable in the cast was the consummate theatre pro, Jack Axelrod, who is a treasure among professional actors.

Axelrod’s incredible facility with accents was incredible and he brought a fully realized dimension to the works that took them from just okay to fabulous.

Theatre in the Dark is fun, interesting, and outrageous and well worth the drive to the Odyssey to experience an evening of performances you won’t soon forget.

This is a must see!

– Annemarie Donkin

GO!

This collection of vignettes is performed entirely in the dark. No, really — upon arrival, you’ll notice a solitary candle burning at stage center, which after the preshow announcements is blown out, plunging us into 90 minutes of inky darkness, only very occasionally alleviated by a momentary flash or murky ghost light. Lord help you if you have claustrophobia! If not, however, the collection of one-act sketches is an unexpectedly vivid series of ghost stories, radio-style dramas and other mysterious theatrical episodes that emphasize virtually all senses but sight. Incidents range in tone from Anna Nicholas’ macabre “Our Dark Connection,” in which seemingly random members of the audience are dragged out of their seats and into the black by an unseen monster, to Friedrich Dürrenmatt’s compellingly disturbing “The Tunnel,” a narrated tale of a man who discovers he’s on a train to oblivion (both are directed with maximum eeriness by Ron Sossi). “One of the Lost” is Ernest Kearney’s spooky tale of the ghostly final transmission of a Russian cosmonaut on a secret space mission. John Zalewski’s sound design is incredibly evocative — and Sossi and his co-directors artfully manipulate all the senses within the live performance to craft a set of dramas that utilize darkness almost as a character.

– Paul Birchall

Taking the notion of old-time radio shows and giving it a modern twist, Odyssey Theatre’s Theatre in the Dark (and upcoming More Dark) is theater… in the dark. For real. Like, pitch black darkness. The world premiere of a concept that has drawn raves in London, Theatre in the Dark is comprised of a series of 12-15 short pieces that are written by a number of different playwrights, including original pieces and previously published work. Because of this, the inventive evening is a cornucopia of styles and themes; some are scary, others are humorous, while even more mix the two.

When the night begins, we are told that the people behind the scenes are watching the audience on infrared monitors (so no funny business!) and if there is an emergency, you should wave your program and someone will come get you. Other than that, you are told to sit back and immerse yourself entirely in the sounds and stories you will hear—but not see. Most of the time. Here and there the lights come up a bit for a surprise or two, but for the most part, you really can’t see a dang thing.

It takes a bit to get used to the utter darkness. For me, being claustrophobic, I was a little taken aback at knowing I had no control over what I could or couldn’t see. But once the stories began, it was easy to let yourself go.

The sound design is especially clever, and in the spookier passages, it’s pretty creepy. Some of the stories were more straightforward, while others were head- scratchers. I would say about two-thirds of the stories were successful, with one-third feeling like they either didn’t go anywhere, or their point was lost in translation. One play about a man moving a plethora of objects into a new apartment ended abruptly and seemingly without much of a point. The ones that worked especially well were one bit about a dinner party with a surprise ending, a monologue about going to Whole Foods where the audience got some tasty treats and a meditation about an ant colony. Less successful were a story about a man on a train that had a confusing ending, and one about a guy being forced to say the same word over and over.

With a second evening called More Dark on the horizon, this could evolve into an exclusive original theater experience where every story leaves a chill or a laugh on your lips. Sticking with the frightening, humorous or more direct might be the best way to go when audiences aren’t used to being immersed in darkness. There is a temptation to fall asleep, and without anything to focus on, sometimes the mind drifts if the narrative isn’t as compelling. That might just be a sign of the times in a world where we need constant visual stimulation. Despite that, this new concept feels charmingly old-fashioned and certainly is a fresh way to spend an evening. Credits for the night are varied and include six directors, 12 actors and 13 writers—some alive and some not so much.

– Kevin P. Taft

Hey, who turned the lights out?  It’s the Odyssey Theatre, for performances of Theatre of Dark, an experimental theatrical experience and festival of short works that takes place—you guessed it—entirely in the dark.  Ever wondered what it’s like to attend the theatre blind? Now you can get your chance.

Presented by a diverse 12-person-strong ensemble of seasoned actors, some of whom wrote and created the pieces you’ll hear, Theatre in the Dark is a collection of existing literature, commissioned plays and original company works that culminates in a sensory experience the audience will never forget.

At the beginning of the performance, claustrophobics and those who fear the dark are comforted by an announcement that the entire audience is being observed by ushers wearing infrared goggles.  In case of emergency, theatergoers are asked to wave their programs for assistance exiting the theatre.

It’s a breath of relief for those with reservations about spending 90 minutes in utter blackness, until the sole candle that’s been illuminating the stage is blown out.  Show’s on.

In the absence of lighting cues or glow tape, the company must find their marks on stage using a grid system of ropes that hang from above.  Rather than “monotonize” their performance by simply reciting lines from one position on stage, the actors do move around quite a bit throughout the theatre, their voices “appearing” from the darkness just inches from audience members’ faces as they dart among the seats.

From scene to scene, each of your senses will be heightened, from your sense of smell, tingling at the strong scent of sage warding off evil spirits, to your taste buds, delighting at a surprise treat, to, of course, your elevated sense of hearing, which is the focal point of the performance.

Sound designer John Zalewski deserves major props for his accomplishments in making the audience feel everything from unease to terror to confusion and pure joy, all through sound effects and music.  An Ovation nominee for three different productions in 2011-2012, he was a great find for this production.

Of the 16 pieces performed on opening night, some were exceptionally straightforward and seem almost unscripted; others were very avant-garde, leaving audience members unsettled and even a bit lost.  Stand-out pieces include “Our Dark Connection” (written by Anna Nicholas), a piece that fooled me with phenomenal acting and dialogue; “Womb” (written by Ron Sossi) and “Elegant Dinner” (created by the company and Anna Nicholas) for their unexpected comedy; and “Prehistoric Hunt” (created by the company and directed by Jeremy Aluma), reliant on the creative magic of sound effects, drawing the audience in with their imaginations on high alert.

Your imagination, however, won’t be the only thing getting a workout by the end of the evening.  One theatergoer summed it up in the lobby afterwards:  “I’m exhausted,” she said.  “I feel as though I’ve been working out!”  And it’s true—as a seeing audience member, you may feel as though you have to work extra hard to pay attention to the narration and dialogue.  Without visual cues, you truly can’t tune out anything you hear, lest you miss a beat.  In the dark, it’s almost impossible to find your way back.

For artistic director Ron Sossi, Theatre in the Dark is a creative success, perhaps best enjoyed by the bespectacled ushers who can observe the wide range of facial expressions and audience reactions by infrared light throughout the unusual show.  With Halloween around the corner, the creepiness of a production without more than a flash of dull light here and there is spectacularly well timed.

How much more rich does food taste in the dark?  How much closer do you become to your neighbors when you must pass props to each other in the darkness?  Will you turn your head to follow moving actors’ voices or will you stay still, focusing on the microscopic light from a piece of theatre technology above?  Will it be jarring when the lights come back up again?

– Jenny Platt

It’s like listening to radio in the dark. You sit in blackness at the Odyssey Theater while various short plays take place on an equally unlit stage. Sound is the sense that takes over; the actors are onstage but unseen as they move about and speak their lines. Music and sound effects are heard from time to time. It’s all very spooky, experimental and heartfelt (the actors worked for months on Theater in the Dark, and even created some of the stygian skits).

It turns out that the concept was borrowed from London’s Battersea Arts Centre, which in 1998 did a popular summer season in the dark. There is also a company in L.A., NoHo’s Zombie Joe’s Underground, that does black horror shows with shock lighting effects. Who knew that a total eclipse could have theatrical applications?

Sixteen plays were performed at the Odyssey: some of them featured as many as eleven actors (Fallen Beast, A Voice in the Darkness); others were solo pieces, brief stories, really (e.g. Beth Hogan telling why she likes to shop at Whole Foods). There are several ghoulish skits, mostly involving cannibalism and gluttony; but there are also unexpected changes of pace, such as a Sufi parable, The Ants, written by Sossi; and a mini-bio of Nijinsky. Which in turn leads nicely to the concluding number, “Dancing in the Dark,” performed by Jack Axelrod.

Did I enjoy the evening? The answer is yes, but not so much that I’d want to see — oops, listen to — Part Two.

– Willard Manus

Theatre in the dark, really! No light, no stage set. What am I going to look at? Can I review something that’s in the dark? I can’t mention the stage set or the staging. The lighting person gets the shaft. This is going to be hard.   I am pretty sophisticated when it comes to theatre, but I will admit I was a little skeptical.  So as I was talking to myself, I said self, what are the reasons for seeing a play completely in the dark? “Well let’s think. One, you’re having a bad hair day, and you don’t want to scare the actors. Two, you’re with someone who is married, and you don’t want to be seen grabbing at each other, or three, you really like the dark. However the best reason for seeing this play is it’s just really good.  It’s creative and imaginative and full of surprises. Yes, it’s definitely in the dark, no lights, on the stage or otherwise.

Imagine being in this theatre with strangers all around you and you can’t see them.  Its sounds creepy but it really isn’t. It’s so dark you can’t see your hand in front of you.  We have become such a visual junkies living in the electronic age of computers and TV. It’s hard to imagine just sitting and listening. I don’t want to give away my age but before TV, families would sit around the radio and just listen to the voices of trained actors go into details about the stories. They were left to rely on their imaginations.  By the way, I am not that old. We had TV but my grandparents couldn’t read English, so they would just tell me stories.  I loved it. It inspired mental creativity.

In “Theatre in the Dark” all your senses are heightened as you sit there experiencing the actor’s voices. Your mind and emotions are on a little roller coaster ride. You go from happy to sad or angry, hungry to full, and at times disgusted, while a scene or two just might enchant you.

The play is really a series of original short stories. Some of the stories were written by the Director, Ron Sossi and some were written by our old favorites, Edgar Allen Poe, and Shakespeare. This play has several writers and directors, all listed below.

As we sit in the dark we are taken from a train tunnel “The Tunnel” (complete with great sound done by John Zalewski) to a dinner where we can almost taste the food the actors are feasting on. The lights flash on for a second and you’re horrified at the sight of the meal you were salivating over.  This wasn’t your average meat and potatoes meal, but at least it’s organic.  There are stories that are creepy like “The Ants” I hate Ants. All I could think about was that site of ants crawling all over my honey jar. YUK! One story plays on your moral emotions as you listen to prison guards, Marcia Battise, and Ron Bottitta verbally abuse a prisoner, Alan Abelew.  “String (voices in Blind 1).”

I just couldn’t help but think of Abu Ghraib. Beth Hogan does a lovely job expressing her love for food, as she takes us shopping through a very familiar gourmet food market (She even includes some secret little goodie bags to enhance the moment. A soft light flashes as Jack Axelrod lulls us with his smooth dance moves. “Dancing in the Dark.” Let us not forget the traditional ghost story. It’s a good story, with a real ghost. Not that I was scared mind you, but my friend was; she’s such a wimp. I am sure you will react to these wonderful stories in some way.

I want to congratulate the Odyssey for this fabulous production.  Over the past few years they have done some interesting and unusual productions. Artistic Director Ron Sossi and Beth Hogan work hard to produce good quality shows. Some are original or new to the West Coast. The acting and directing is always quality as are the stage sets and lighting etc.

This Production was done as a collaboration with different writers,’ actors and directors and is exclusive to the Odyssey.  You can’t TiVo it, or watch it on demand. You can’t get it on video, not at this time anyway.  So get off the couch and just go see it.  And remember you don’t have to worry if you’re having a bad hair day.

For those of you looking for creative and interesting things to do on a weekend night this is it. If you’re not one of those people just do it anyway, it’s good for you to try something new.

– Rose Desena

This review may seem somewhat incomplete, for to describe the experience in great detail would do a disservice to those who will see the evening DARK or MORE DARK, both part of Theatre in the Dark on the Odyssey stage through December 16. Theatre in the Dark is literally just that, the stage is dark and the audience is dark, except for the glow of a candle onstage when you make your entrance to the auditorium. And then at curtain time, it is blown out! You cannot see the actors except on occasion – two or three times – and then only a quick glimpse of them, followed by a blackout. The whole experience of no sight is to heighten the other 4 senses: sound, smell, taste and touch. You must listen carefully to every word, and are given the opportunity to smell, taste and touch at certain moments. That is all I will say, other than to express the feelings I had during the 90 minute period. I was at times irritable and impatient – this could have been because of the conditions, I’m not certain – at other moments excited, sad or happy, as a particular case presented itself.

There are 12 actors in the evening: Alan Abelew, Jack Axelrod, Marcia Battise, Denise Blasor, Ron Bottitta, Sheelagh Cullen, Jean Gilpin, Beth Hogan, Kristina Lloyd, Anna Nicholas, Cary Thompson and Terry Woodberry, all superb storytellers using various voices – man and animal – and a bevy of accents. How do they move about the auditorium without bumping into each other? You will find out at play’s end. There are 5 directors: Jeremy Aluma, David Bridel, Denise Blasor, Ron Sossi – directing the majority, and Susan Heldfond. There are 11 writers and 5 playlets in Part One. My favorites include: Friedrich Durrenmatt’s The Tunnel about a hellish train ride to… I was thoroughly riveted, feeling the ups and downs of the perilous journey, kind of like the excitement and fear of being on a roller coaster that may seem out of control. Another favorite was Anna Nicholas and Elegant Dinner. The sounds are so enticing, delectable, but the sight of what they are eating at the end is…My third favorite was A Happening with Beth Hogan performing what seemed an improv of sorts whereby our tastebuds were put to the test… Ron Sossi’s Womb is pleasurably funny, and Sound in the Forest and The Ants, a Sufi parable, both make intelligent statements about what we do or do not perceive and how strategy/technique can get in the way of enjoyment …

Concept theatre is difficult to execute and to absorb fully, but the experience is definitely worthwhile and will make you appreciate man’s complex ability to utilize the senses optimally. The next time you hear, smell or taste  something, savor every moment!

4 out of 5 stars

– Don Grigware