Chicago Shakespeare Theater Presents Production TM Review — Newly Defined Interactive Theater

It is just the viewer and the cast member in the zoom room. The cast member warns you that you will be asked a series of questions – beginning with yes or no questions. At the beginning it might feel easy, but over time, the questions become a little darker, and start to enter the territory below:

Cast Member: “Have you ever seen someone get murdered?”
Me: “No.”
Cast Member: “Do you want to see a video of someone getting murdered?”
Me: “No.”
Cast Member: “Are you sure?”
Me: “What?”
Cast Member: “Are you sure?”
[silence]

You might find that a series of questions run through your mind. Am I allowed to say no? Does it halt the show if I say no? Am I doing it wrong? Is that okay? All of these ran through this writer’s mind, as well as many more. As the silence extends, you might find yourself becoming anxious, and the need to answer correctly only intensifies.

Written by Alexander Devriendt, Angelo Tijssens, Aurélie Lannoy, Karolien de Bleser and Samir Veen, TM is a unique, interactive experience between one actor and one spectator. The production turns the concept of audience participation on its head, creating a two-person show between spectator and performer. Through a series of questions and prompts, both members of the zoom room explore a range of contemporary news issues – particularly in relation to capitalism, wealth, and the concept of good and evil.

Chicago Shakespeare Theater's Production Shows a Test of Character

While some questions might feel easy, you might find that others become deeply personal, and suddenly put you on the spot as you struggle to answer.

At one key moment, the performer draws a number line on the screen. 1 represents pure evil, and 20 represents pure good. All you, the spectator, must do is respond to each inquiry with a number.

“Where would you place yourself now?”
“Where would you place yourself as a teenager?”
“Where would you place yourself as a child?”
“Where would you place yourself as a newborn baby?”
“Is that true of all newborn children?”
“Where would you place all of humanity?”

As the questions continue, the performer nods and records the spectator’s responses. The performer is careful to never push, but rather will sit in silence as the viewer considers their answer. You might just find that while some of the questions feel easier, the tension never really goes away. In fact, just when you might think that everything has hit a normal, predictable rhythm, the performer throws another wrench in the evening with the following:

“Are there any objects around you that could be used to murder someone?”

Suddenly you might feel yourself tense up yet again, wondering for what answer they are possibly searching. As you, the viewer, consider your answer, the silence only intensifies, and the eye contact never falters.

If you are a fan of interactive theater that invites deep questions and introspection, TM is the experience for you. This writer has certainly never experienced anything like it, and that half-hour performance will always be remembered.