When we arrived at the Audrey Skirball Kenis Theater at the Geffen Playhouse, we were asked to select a card from hundreds listed alphabetically on a large board in the lobby. Each card contained the name of different occupations and we were asked to select one that best described us or what we wish to be. An usher requested the cards from us as we entered, so of course it made sense they would be part of the show – but how?
Directed by Frank Oz, “In and of Itself” is Derek DelGaudio’s latest conjuring in which the writer, performance artist and two-time Academy of Magical Arts Award winning magician constructs a metaphoric labyrinth, filled with allegorical illusions and centered around a single paradoxical truth that honesty is not always honest nor does it represent the truth.
Filled with audience participation, some of which slowed the show down to a snail’s pace when the audience member had little to say, the show still created moments of disbelief when DelGaudio seemed to know more about that person than seemed humanly possible. How he knew exactly which envelope to select from a cubbyhole in a set window collection of letters that would match the person he picked was mind-boggling. The same thing could be said of his playing card trick ability, somehow creating order out of disorder.
“I sensed in Derek a pure intent,” said director Frank Oz, “I loved that he was attempting to do something extraordinary and unexpected. It’s unlike anything I’ve ever been a part of. There’s an authenticity to Derek that is rare and integral to his work. This show has been inside him for a long time and it’s full of beautiful, complex ideas. I wanted to help Derek focus those ideas, shape them and bring them to life on the stage.”
But four-time Emmy winning director Oz seems to have missed the mark by not insisting that DelGaudio show more enthusiasm for his ability to seemingly bend reality, which would have made the show much more interesting and able to keep the audience on the edge of their seats wondering what would happen next. For me, the main problem was that DelGaudio is not much of a showman, speaking deadpan and monotone throughout with little energy to make the show more interesting to watch. Tricks seemed to be far and few between, and with a running time of just over one hour, you would think there would be a lot more content presented quickly to show off his skills. I hate to say it, but the long moments of silence and ongoing theoretical monologues did little to increase interest in whatever amazement was being set up.
But back to those cards each member of the audience selected. As the finale to the show, DelGaudio asked audience members who had selected cards describing how they really saw themselves to stand up. About one-third of us did, and somehow as he walked among us staring into each of our eyes, he managed to know exactly which of the hundreds of cards each person had selected. His ability to succeed in this endeavor led to a long discussion on his technique as we drove home, but I will not share what I figured out as to how the illusion was accomplished. After all, I might be wrong – or right and spoil the surprise.
And just how did DelGaudio change several three-dimensional cubbyholes on the set wall into two-dimensional images which then fell to the floor? I dare you to figure that one out. Then again, illusions are meant to create wonder and in that, DelGaudio succeeded brilliantly.
The world premiere of “In and of Itself,” written and performed by Derek DelGaudio, directed by Frank Oz and produced by Glenn Kaino and Tom Werner with original music by Mark Mothersbaugh (founding member and frontman of the popular band DEVO), continues through Sunday, June 26 in the Audrey Skirball Kenis Theater at the Geffen Playhouse, 10886 Le Conte Ave., Los Angeles. Ticket prices range from $100 to $150 and are available in-person at the Geffen Playhouse box office, via phone at 310-208-5454 or online at www.geffenplayhouse.com.