New York

Richard Foreman

La Mama E.T.C.

In Richard Foreman’s latest production, Eddie Goes to Poetry City, 1991, the protagonist takes off on a metaphorical roller-coaster ride to a mythical destination (where “poetry melts language”), with the audience strapped in tightly behind him. On the way all kinds of words, women, and objects—not to mention buckets full of existential angst—are thrown across his path. The moment the signal is given to start the action, the audience begins to count up the objects that characteristically litter the Foreman stage, to mark off, like a silent kitchen timer, how much longer you have to go to the end (a row of clocks on the far wall, set to real time, makes this task easier). Not surprisingly, Eddie tries to escape, but even this he does with mortifying self-consciousness. “Why is everyone looking at me?” he asks. Because “you’re in a play,” the good doctor answers, and the taped voice, not

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