by Dr. David Glen Robinson
I walked two blocks to reach the Long Center, with its blackbox Rollins Studio Theatre, where DayBoyNightGirl played. Without a doubt, the spectacular 21st century cityscape of downtown Austin upstages every performance staged there. After all, the downtown view is the first thing one sees upon arriving at the Long Center. DayBoyNightGirl pushed back admirably against the sensory overload. The show was spectacular at every level.
If you’re tired of small plays in small theatres, I offer you my fascination with small companies that do enormous things with their talents. Da! Theatre Collective is one such company, and DayBoyNightGirl is enormous in its scope and bold execution, without ever becoming pretentious, precious or trite. The piece is a fine example of multiple-arts performance, showcased for us recently by the offerings of the Fusebox Festival. It is my hope that multiple-arts companies thrive and create a dominant trend in American theatre. They offer freshness and quite possibly true originality.
The source of Da! Theatre Collective’s creative diversity lies in the company’s founders. Heather Huggins and Lisa del Rosario have international backgrounds in theatre and dance, and their collaborations seem to balance these major branches of the fine arts. Kirk German is a gifted playwright; the stage play of DayBoyNightGirl is brilliant (adapted from a story by George MacDonald); the language never lapses into mere functional storytelling, but at times the words in the mouths of the actors seem to vault into iambic hexameter, giving an Elizabethan lilt to many of the text passages. The thing sparkles.
