Mao on Line One

A delicate powerhouse of a play, Mao on Line One deals with how to stop; with who or what or how do we find that air pocket in the never ending, never slowing torrent of our every day lives that allows us to stop and see who we are, what we’ve become, and where we’re going. To stop consuming and doing; to see and be seen. Kimberly Megna’s rhythmic, musical language creates a story that aurally and visually explores just that dilemma. She creates a world of arguments with people in your head (don’t you HATE when you do that?!), invisibility to the world around you, and maybe, just maybe, finding the something or someone, that doesn’t let you get away with it all. Kimberly’s style and work combined with the topic make it a dream come true for DownTownTheatre Company’s next project: her story gives the production a blueprint, the language gives the music, and the script gives a world inside which the designers, actors, and director can create a physical, living manifestation that is incredibly relevant and important.