Will Eno, the playwright behind “Thom Pain (based on nothing)” and “The Realistic Joneses,” goes full existential in his ambitious new play, “The Underlying Chris,” by fol…
,” goes full existential in his ambitious new play, “The Underlying Chris,” by following an Everyperson character named Chris/Christine/Christopher, et al, from cradle to grave. Disconcertingly at first, this protean person is alternately played by both male and female performers. But before long, the flexible nature of this ambiguously named character feels fluid and graceful, as he floats effortlessly through time and space.
When Chris is first met, he is an infant called Kit, tucked into a bassinet and doted upon by his adoring Mother . As young as he is, the child acquires a bad back that will plague him for the rest of his life. When the next scene trundles on , Chris has morphed into Christine, a teenaged girl played by Isabella Russo. Christine is in the hospital with a concussion she suffered from a diving accident. By now, we’re beginning to appreciate not only Chris’ fragility, but also the fragility of the human body; indeed, of the whole human race. seems more in command of the playwright’s quicksilver style, with its stylized language and surreal sense of humor — like Beckett, one might say, or Edward Albee.
And that’s pretty much the essence of “The Underlying Chris,” an abstract of the human race in all its genius and splendor — and all its stupidities and frailties. Eno is especially adept at seizing on the non-sequiturs that make human speech so innocently hilarious. When Chris achieves a certain celebrity just for being herself, she is interviewed by a talk show host who stops to muse out loud: “We all know how aromatic candles are made.
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