Stephanie Morin-Robert has a big megaphone in Bushel and Peck, but what is she saying?
BUSHEL AND PECK
There’s not enough to it.
In their two-person performance, which incorporates clowning and dance, Alastair Knowles and Stephanie Morin-Robert explore the process of creation—mostly making a show, but also, potentially, building a relationship and making a baby. As Knowles reads from A Maker’s Handbook, which includes pithy questions such as “What is this show about?”, Morin-Robert’s clown character flips his pages with a blow dryer.
With its stark lighting and severe palette of black, white, and taupe costumes, Bushel and Peck looks good. And the piece includes some skilled physical business: Morin-Robert covers her head with her shirt, for instance, and places Knowles’s head on her new shoulders, but it keeps falling off.
Unfortunately, the thematic exploration manages to be both deliberate and vague, the clowning is only intermittently funny, and there’s a lot of generic, spinning dance.
Remaining performances at the Waterfront Theatre on September 13 (7:45 p.m.), 14 (8:45 p.m.), 16 (9:45 p.m.), and 17 (1:15 p.m.)
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