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'I feel nothing it's boring,' says Morpheus. 'I just want for the hurt to stop,' says Vita. There are dozens of lines Georgievski just tempts you to throw back at his play. I don't blame him in fact, I feel bad even naming him in this review, as it will now haunt the poor actor's Google searches eternally.ĭirector Stefan Dzeparoski - not-so-incidentally, Kydd's husband - adds visual spice with live and recorded video, but otherwise only make his actors wander in aimless circles.Ĭamellia Koo's set, a backdrop of dangling white crucifixes on which lots of video is projected, is the best thing about the play, but nonsensical given Vita is an atheist and the mythologies the play draws on are not Christian. Morpheus - played by Andre Sills - stumbles every few lines trying to remember his syntactically idiosyncratic sales pitches for the Underworld. Playing a character partially inspired by herself, Kydd recites her neverending soliloquies at a glacial pace, just a few words at a time, accompanied by formal gesturing and baffling facial expressions.

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Written in unremittingly awkward English, Georgievski's text features long, monotonous monologues about memory and pain offset by, presumably for comic relief, parodies of news broadcasts and reality TV shows that seem to have been scripted by someone who's never owned a television. SoulSeek may sound like perfect BirdLand material, but the metaphysical journey Georgievski has mapped out here for Vita is self-referential and almost entirely incomprehensible. Judas Iscariot took place in stylized afterlifes, Not the Tony-winning playwright and director) dies of cancer.Įither dead or in a coma, Vita arrives in the Underworld, where she is greeted by Morpheus, a minor deity who will be her guide - and ours - to the various circles of her own private hell. SoulSeek stars Birdland's artistic producer Zorana Kydd as Vita, an actress and television anchor who attempts suicide after her partner Terry Johnson (presumably