Bridal Bonds
JON KAPLAN and GLENN SUMI

There's no happily ever after for the women in The Large Glass, a DNA production conceived by David Duclos, who also did set and lighting design. A dark meditation on marriage, the interactive piece was staged on the 24th floor of a downtown office building, an open space divided into playing areas by plastic sheets, blue lights and suspended drinking glasses.

None of the female characters seemed content with her lot. One nervous woman who ran from contact with anyone seemed about to be given away in an arranged marriage; another (the always splendid Viv Moore) was behind a gauzy screen, dancing out her frustrations while cracking a bullwhip. A third hid behind her erotic paintings, while another (Katherine Duncanson), trapped within a cat's cradle of red string, played simple, untroubled melodies on a keyboard.

The show's meaning was open to each viewer's interpretation; wandering one at a time through the various rooms, we had no other audience members with whom to share the experience. I left analysis behind and focused on sensual and playful impressions, several of which I was encouraged to create myself.

Some of the strongest? Walking a maze created by pebbles in a room hung with windows on which text was written; playing in a flickering light designed to throw kaleidoscopic, reversed shadow images of my hands and body on a blank wall; seductive hands beckoning me through white curtains.

Not everything worked, but the evening - which also involved choreographer Hillar Liitoja, painter Natasha Doyon, playwright Sue Balint, sound designer Richard Windeyer and dancers Magdalena Vasko and Jasmine Ellis - left me with plenty of dreamlike images.

NOW MAGAZINE | july 7-13 2005