FringeNYC 2013: And It Spins Twice

Beth and Liz are both theoretical physicists. Both are involved with a musician named Ryan. And in this imaginative new play about endless possibilities, both are grappling with the probability that it's all about to end.
Official production websiteShow details/ticketing at FringeNYC
Review by Mitchell Conway · August 17, 2013
For those interested in contemplating the implications of string theory, And It Spins Twice is a good introduction to some of the concepts that are radically altering our understanding of the fundamental constituents of nature. Three of the four roles in the play are theoretical physicists, who each have an opportunity to explicate pieces of this theory as they juggle their personal relationships.
Attempts towards comprehending the incomprehensible reality observed in quantum physics have led to theoretical proposals that will not be proven with data in the foreseeable future, but may reveal a world quite different than the one we inhabit and experience: parallel universes, multiple realities, and hidden dimensions, once thought of as merely science fiction are now possibilities being seriously considered. I want to applaud Angry Bubbles Productions for delving into this complex matter. Alexis Roblan’s play grasps at ideas and worlds we can only dream about, such as the myriad of artwork that resulted in response to Einstein’s theory of relativity, I hope And It Spins Twice represents a trend in theatre of thoroughly reckoning with current revelations in quantum physics. The discovery this March of the Higgs Boson that gives mass to matter, establishing a dynamic field throughout all space quite unlike the ‘empty void’ space has been thought of as, is one of many astonishing developments.
Director Michael Padden’s simple set, some chairs by two white tables, begins with a small white unidentifiable bump on one of the tables. I found this little white bump surprisingly aesthetically pleasing; a rift in the smooth surface. Soon, it is revealed to be a paper note from the husband of physics professor Beth, played by Lucia Grillo, with the information that he is leaving her. In another reality ten years earlier Marlena Kalm’s plays Liz, the same woman as a graduate student of theoretical physics beginning a relationship with Ryan, played by Thom Christensen. While Kalm’s presence as Liz is reassured and down to earth, Grillo’s as Beth is fraught with delusion and fear, permeating even her lectures.
Gravitons: units of gravity that are shared between universes existing right next to each other with one completely undetectable by the next. Liz hypothesizes that small fluctuations in gravity can indicate when universes/membranes may be about to collide. Her discovery of this possibility occurs simultaneously with an instance of such fluctuations at the CERN particle accelerator. The creation of our universe, the big bang, possibly occurred as a product of two membranes colliding, so Liz has predicted the demise of our universe and creation of another.
Generally the scientific talk was clear to follow, but on one occasion Liz is explaining the possibility of multiple universes to Ryan. She asks him whether he thinks space is infinite or finite, and he responds he thinks it is infinite. From there, she says that since there are a finite amount of particles in the universe, duplicates of the same reality with small variations exist throughout. He concludes there may be another reality where he is Bono, the singer from the band U2. I’m unable to connect those dots. I’m familiar with the proposition that if we take the hypothesis that time is infinite and there are a finite amount of particles, the universe’s finite particles will rearrange themselves in every possible manner and in fact repeat every variation for all time. So this life as we know it we will live out indefinitely on repeat, in addition to its innumerable variations.
It’s impossible to see quantum reality. Through a parallel to romantic relationships And It Spins Twice tries to offer a feeling of other possible lives, and even their convergence.
Preview: Interviews with Artists from And It Spins Twice
We're asking artists from each show to answer questions about themselves and their work to help our readers get a detailed advance picture of the festival:
The Five W's · Joe Cabrera (Designer)
- Who is more important in the theater: the actor, the playwright, or the director?
The actor. One does not need a playwright, director, designer, etc. to create theatre; merely an actor, an audience, and a sensory stimulation. - What aspects of design are you responsible for, and what exactly does that entail? Please be specific, e.g., if you’re the sound designer, what are the things that the audience will experience that you’re responsible for?
Lighting. My primarily goal in our production is to help set the location of each of our scenes, for we have a very minimal set with multiple locations. Specificity is very important when you work minimally. Being able to mold the light to help represent multiple places (two of which are rather other-worldly) is what I take upon myself as my primary goal of this production. - Where do you get inspiration for your designs?
Mostly through contemporary, cubist, surrealist, and abstract expressionist art. That and phrases I read in newspapers, online articles, and have in conversations. I also have been quite influenced by the works of director Robert Wilson and his use or shape, space, time, and movement; and the artists Melvin Edwards, Joan Semmel, Jack Whitten, and Jean Tinguely. - When did you know you wanted to work in the theater, and why?
There was no 'when;' I simply do. It just so happens that much of what I enjoy and professionally do falls within the theatre realm. I also work in and with the art world, computing, and construction; all of which I enjoy very much. - Why is your design discipline important?
Light, in general, is responsible for the initial impression of many things in our world; primarily because we view things with our eyes before we ever hear, taste, smell, or touch something. Also, since the American audience member has been cultivated to be primarily visually stimulated, lighting must be used and executed precisely in order to produce the most effective result. Light reveals the scenic elements, shapes the mood of the scene, dances with the choreography, and (most importantly) keeps the actors from falling off the stage (most of the time).
Journey to FringeNYC · Thom Chirstensen (Actor)
- Who do you play in this show, and what was your key to unlocking this character/these characters?
I play Ryan, actually 2 Ryans, from different sides of the universal divide. Unlocking a character is always a fascinating journey. I mean, first you need to make sure you have the right keys. And the people around me are certainly the keys needed to make sense of one man, with two reflections, from opposite sides of the mirror. - What are some of your previous theater credits? (Be specific! Name shows, etc.)
How do I possibly make the answer to this question interesting? Hmm. I mean theatre is about community right, so I would need to mention who else was in the play, and who wrote it, and who the director was, and who stage managed it, and who designed it, and who crewed it, and who house managed, and what bar we went to after rehearsals or shows, and... I think I'll just say, come see our show and read my bio if you really, really care. - Why did you want to be part of FringeNYC?
NEW York City, NEW Plays, NEW Collaborators, NEW experiences, same OLD love of theatre I've had for years. - What was the most memorable/funny/unusual thing that has happened during the development and rehearsal process for this show?
There is a chair we rehearse with that is padded is a particular way that makes it sound like a diaper when you pick up the chair and move it. Suffice it to say, I did not interact with this chair early in rehearsals, but others did, leading me to believe that several members of the cast and crew were wearing diapers. A strange thing to experience, as you try to be sensitive to others, but wonder how so many diaper wearers ended up in the same room together and at the same time too. - Now that you’ve played this role, which Shakespearean role are you ready for: Hamlet, Lady Macbeth, Juliet, or Puck?
If there are more things in heaven and earth than are dreamt of in our philosophy, I believe by the time this play ends, Ryan has a head start on Hamlet.
Theater is Political · Alexis Roblan (Writer)
- Is this play political? Why or why not?
This play doesn't have overt political themes, but I think all art is political. It's a play that's trying to translate large ideas into intimate emotional experiences, and vice versa; trying to grapple with the experience of knowing that your pain is small and common, while it feels like the world is ending. The two protagonists are intelligent, strong women who happen to be scientists, and at this point in time, that probably is a political statement. Though I hope that in a few years it won't be. It's also a play that I hope will get people excited and passionate about hard science -- the kind that can really fundamentally change our understanding of reality. That's a political act in a country with a strong anti-intellectual streak, in which we keep refusing to fund this exact sort of work. - Theater is a necessary ingredient in democratic societies. Do you agree or disagree, and why?
I definitely agree. It's very easy in our day-to-day lives to move from one thing to another without any time or space for reflection, and without reflection, no one can change their mind. No one can move beyond the snap judgements they made when first confronted with a superficial premise. As a society, we can't have deep conversation without reflection. Theatre forces us to sit in a room silently and contemplate the questions being asked of us by the living, breathing humans on stage. This play in particular asks people to examine their own behavior in relationships and their own place in the universe. - Which political figure would like your show the best: Chris Christie, Hilary Clinton, Rand Paul, or Al Sharpton?
Hillary Clinton. And It Spins Twice features two strong, intelligent, professional women dealing with emotionally difficult situations in their personal lives, and cataclysmic events in the world. I'm sure she could relate. - Who do you think has the right idea about theater: Brecht, Artaud, Shakespeare, or Aristotle?
I'm a fan of Brecht, but Artaud is the man who initially turned me onto theatre, before I'd ever seen a professional play that wasn't a musical. As a freshman acting student who'd just moved to LA from rural Oregon, I was in love with movies. I read 'The Theatre And Its Double' in one of my first theory classes, and it pretty literally changed my life. I still go back to it sometimes for inspiration. - Is it more important to you to write about people who have the same political/social views as you, or people who have entirely different ones?
I find it more natural to be critical of my characters, particularly the ones I relate to the most. My protagonists tend to either hold views that I want the play to argue with, or, more often, they are struggling to figure out what they believe. I definitely had a point of view going into 'And It Spins Twice,' but it's also important to me that there are at least 3 world views offered and the play does not side with any of them fully. The point is not to convince, but to spark imagination, contemplation, and conversation.
Many Faces of Theater · Michael Padden (Director)
- What type of theater do you like most to work on?
I enjoy doing plays about real people, Lately I've been drawn to work that examines the nature of spirituality and what role it plays in our lives. And It Spins twice tells the story of two women examining their lives and contributions to the world in the wake of the most calamitous and exhilarating event ever to have happened. It's right up my alley. - What is your signature style or aesthetic as a director?
I'm a minimalist. I believe that creativity comes out of limitation and I like to examine stories in ways that elevate the language. I'm excited to be working on this particular play in the fringe festival because it tackles huge ideas and we are creating the piece in a very spare way. We want the audience to feel a part of the universe: both large and small at the same time. - Are audiences in New York City different from audiences in other cities/countries where you’ve worked? If so, how?
Audiences definitely differ based on a variety of factors but, I don't let that affect how I steer the ship when telling a particular story. People go to the theatre because they want to feel. The fact that they are in communion with other people in a particular location is going to effect the lens in which they view the work but, our job as artists is to tell the story. This play deals with examining your own place in the universe, And it forces the audience to ask the question: Have I loved enough? It will be interesting to see how New York responds. - Where would be your ideal working environment: New York in 2013, Shakespeare’s Globe, the theater of Sophocles and Euripides, Stanislavski’s Moscow Art Theater?
I feel very fortunate to be existing now but to have the ability to draw from the Bard, the Greeks and Stanislavski but, I'm happy to be doing theatre in here and now. We know so much about the world now and yet there's still so much to discover. It's an exciting time to be alive. - Groucho, Chico, Harpo, or Zeppo?
Groucho.
All About My Show · tony lepore (Other)
- Complete this sentence: My show is the only one in FringeNYC that...?
will have you wanting to dig into science - REAL science, not science fiction - because for the first time that I've ever seen: The interconnection between quantum physics, music, art, interpersonal relationships are brought to life onstage and we UNDERSTAND! - What do you think this show is about? What will audiences take away with them after seeing it?
I think its about the music and dance of the universe - but that's just my particular point of view. As a credit to the playwright, when I had different directors and actors reading it to see if they were interested in working on it, they ALL came back and said the play was about something different to each one of them - that to me is a great starting point to a great play. But one major theme that stands out is how due to the miracle and physics of the way the universe is put together, we all come from the same origins of the Big Bang, and we're all held together by the same membrane (from M-Theory) that holds everything else in the universe together. This isn't science-fiction, this is science - and it STILL leads back to: We're all connected, we're all in this together. - What aspect of the show are you responsible for, and what exactly does that entail? Please be specific, e.g., if you’re the dramaturg, what are the things that the audience will experience that you’re responsible for?
I'm producing the show as well as writing the original music and sound design. One of the reasons that we at Angry Bubble Productions chose to do this play is that besides providing an opportunity for better and more interesting roles for women actors (which is a major part of our mission), the relationship between art and science is a major undertone running throughout the piece, so this lends itself well to a challenging sound-scape. Especially since we learn that String Theory itself can be (partially) explained by comparing the vibrations of the smallest particles in the universe to the vibrations of different notes on a guitar string. - How did you first become involved/acquainted with this show?
When Eva Minemar and I formed Angry Bubble Productions back in 1999 on the Lower East Side, we were already doing FringeNYC shows in ensemble-style where the women onstage that evening wrote the material for the show (and then re-wrote it before the next show). Since then, we'd been around the world doing all kinds of theatre, and more often than not, women's theatre in particular. Towards the end of last year, we had a nostalgic-type conversation and we decided to get back to our roots and do a show in FringeNYC. I called up-and-coming producer Lauren Rayner who also writes and directs provocative theatre to see who she thought was the best woman playwright in NY today. She suggested Alexis Roblan, who's work I was familiar with (I saw Daughters of Lot before it went to Edinburgh last summer). Alexis sent us a few scripts and we immediately wanted AND IT SPINS TWICE for both is unique take and Arts/Science/Relationships as well as the excellent roles it provided for all of the actors. - Is there a particular moment in this show that you really love or look forward to? Without giving away surprises, what happens in that moment and why does it jazz you?
The last five minutes - two universes come together, taking what right now is just a theoretical physics equation and puts in right on the stage!

