Oberg -- who has James Stewart-like unprepossessing good looks -- is revealed in a pool of light and starts talking about being an actor standing in a pool of light. He refers to appearing before strangers while reciting memorized lines in a suit that isn't even his. He says he himself isn't fully in sync with "this art thing -- meta thing." He lets audience members know it's fine with him if anyone wants to leave. (At the performance I attended one man took Oberg up on the offer.)
Indeed, the 63-minute-long piece (Oberg announces its exact length) is as quintessentially meta-theatrical as can be in these days when meta-theater is so much in vogue. But as Oberg digresses from his initial topic and talks randomly on diverse subjects (though not randomly at all), he leaves off discussing his being in a play with no plot -- and only a chair as an addition to the otherwise empty stage. He reaches a point where he's talking about life being a plotless play, implying strongly that all citizens of the world are merely existential actors in that script. Therefore, the work is about something very 21st Century, after all.
One of the joint Clancy-Oberg achievements is turning the often poetical Event into a model of how one-person shows can be directed and performed. Aside from too many both-arms-raised-at-half-mast gestures, Oberg's economy of movement is exemplary.
-- David Finkle