That’s some road trip that’s been mapped out by the three drunken travelers now bending an elbow at Joe’s Pub at the Public Theater. (I mean the ones onstage.) In “Anything That Gives Off Light,” a wide-ranging work of stand-up musical theater from the Brooklyn-based troupe the TEAM and the National Theater of Scotland, two Scots and an American meet in a London bar.
The Scots are Brian (Reuben Joseph) and Iain (Martin Donaghy), and, in happier times, they were the best of friends. They call the American woman (Jessica Almasy) Red because she never says what her real name is (or if she does, I didn’t catch it) but has ordered a “red daiquiri.”
Red, who comes from the mountains of West Virginia, is on what she describes as a second honeymoon, but without her husband. Iain has arrived from Scotland bearing the ashes of Brian’s recently deceased granny, a firebrand who used to take the young’uns on protest marches. Brian, who appears to devote his life to getting and spending in London, seems to have little interest in either returning to his homeland or revisiting his past. Everybody is on edge.
Still, as the song that opens the show reminds us, there’s nothing like a “long-handled whisky bottle” to blur any unpleasantness. And before the first flush of intoxication has faded into a grayer shade, Brian, Iain and Red are in a rental car bound for Scotland. That country, in this rendering, turns out to be an exceedingly mutable land, fixed in neither time nor place.
Directed by the industrious and imaginative Rachel Chavkin (“Natasha, Pierre & the Great Comet of 1812,” this season’s “Hadestown” on Broadway), “Anything That Gives Off Light” is a collaboration between two adventurous theater companies that ultimately gets lost within its dizzying breadth of aspirations.
The show was initially created in 2014 as a response to the Scottish independence referendum. But subsequent, word-rattling events — particularly the Brexit vote and the election of President Trump — led the creators to broaden their scope. The version that opened on Saturday at Joe’s Pub straddles the Atlantic in considering the shifting nature of national identities, and the fraught histories behind them.
Thus the Scotland in which Brian, Iain and Red arrive has a way of melting into other places and other times. These include the boat in which Bonnie Prince Charlie escaped the Isle of Skye in the 1740s; the home of a Scottish farmwoman who is forced from her property; the brave new world of unsettled Appalachia in 18th-century America and the land of shrunken expectations now inhabited by the same region’s unemployed coal miners.
Like earlier, more completely realized works by the TEAM, (including “Architecting” and “Mission Drift”), “Anything” digs beneath contemporary surfaces to uncover social roots and explanations for the fractured here and now. The script, by a collective of six credited writers (in collaboration with four others), traces Brian’s loss of ideals, Iain’s loss of ambition and Red’s loss of her West Virginia home to both their immediate and far distant pasts.
The exploitative nature of big business and big government; the evolution of national myths and legends; gun laws; the Constitution of Iceland; the death of the American coal industry; crushed utopian fantasies; the displacements of immigration; the confusing rootlessness of latter-day lives — these are all explored in far-reaching vignettes in which our three travelers wind up separated in unexpected terrain. That’s a lot of territory to roam in a mere 90 minutes.
The show’s jumps among different worlds can induce whiplash, and the performers acknowledge we may have trouble keeping up. (At one point, Brian asks Iain to hand him his grandmother’s ashes, and is told, “I’m in Scotland. You’re in the States. If you want her, you’ll need to hop on a liner and come allllll the way back to Scotland.”)
If you pay close attention, though, you’ll find some interesting aperçus about the semantics by which the Scottish (and British) and Americans define themselves. Consider, for instance, the contrast — and ultimate similarities — between the Scottish vision of its people as a race that “snatches defeat out of the jaws of victory” and the cherished perception by many Americans of their nation as a race of scrappy “underdogs.”
Through all their changes of personas, the three leading performers — backed by the musicians Jessie Linden, Maya Sharpe and Katrina Yaukey — remain appealing company. And the songs they perform, folky reels and ballads written by the Bengsons, are always pleasant.
I should note that I watched the show cold sober. But I have the feeling its meandering charms might be enhanced by access to that long-handled whisky bottle hymned at the show’s beginning.B:
“【你】【这】【是】【早】【有】【预】【谋】【啊】。”【落】【歌】【看】【着】【山】【水】【庄】【园】【的】【别】【墅】【楼】，【这】【些】【建】【筑】【都】【是】【竹】、【木】【建】【成】【的】，【园】【里】【有】【假】【山】，【有】【小】【溪】【流】【水】，【还】【有】【乳】【白】【鹅】【卵】【石】【铺】【路】。 【尧】【羽】【淡】【笑】【不】【语】。 【落】【歌】【随】【意】【走】【走】，【发】【现】【了】【假】【山】【后】【的】【双】【人】【秋】【千】，【略】【有】【惊】【喜】【地】【坐】【上】【去】【摇】【摇】【晃】【晃】，【秋】【千】【上】【方】【的】【木】【杠】【子】【上】【攀】【爬】【着】【葱】【绿】【的】【紫】【藤】【萝】，【含】【苞】【欲】【放】【的】【青】【紫】【色】【花】【苞】【坠】【成】【一】【团】，【像】
【视】【频】【中】【庄】【严】【对】【待】【清】【丽】【的】【态】【度】【在】【很】【大】【程】【度】【上】【帮】【助】【了】【清】【丽】【此】【刻】【的】【说】【辞】，【让】【她】【的】【这】【些】【说】【辞】【听】【起】【来】【更】【加】【的】【可】【信】。【所】【以】，【在】【庄】【海】【的】【再】【次】【确】【认】【下】，【庄】【老】【爷】【子】【最】【终】【认】【可】【了】【清】【丽】【的】【说】【法】，【满】【意】【了】【她】【的】【态】【度】。 【他】【说】：“【拿】【得】【起】【也】【放】【得】【下】，【清】【丽】【是】【个】【敢】【爱】【敢】【恨】【懂】【放】【下】【的】【好】【姑】【娘】！” 【态】【度】【完】【全】【不】【同】【于】【对】【庄】【夫】【人】【的】【疾】【言】【厉】【色】。 【清】【丽】【笑】【眯】马报开奖结果现场报码2016今晚“【引】【力】【屏】【障】【正】【在】【关】【闭】。” “【重】【力】【立】【场】【正】【在】【关】【闭】。” “【磁】【力】【干】【扰】【正】【在】【关】【闭】。” 【柔】【和】【的】【女】【声】【回】【响】【在】【这】【不】【算】【大】【的】【房】【间】【中】，【穿】【着】【白】【大】【褂】【的】【白】【发】【老】【者】【自】【然】【就】【是】【这】【个】**【的】【首】【席】【科】【学】【家】【詹】【南】【斯】【拉】【杰】，【他】【此】【时】【正】【站】【在】【距】【离】【巨】【蛋】【不】【足】【三】【米】【外】，【目】【光】【灼】【灼】【的】【看】【着】【这】【枚】【刻】【满】【神】【秘】【花】【纹】【的】【巨】【蛋】，【等】【到】**【人】【工】【智】【能】【先】【知】【关】【闭】【了】【一】【连】【串】
【通】【过】【对】【主】【部】【落】【和】【分】【部】【落】【年】【青】【一】【代】【的】【观】【察】，【辛】【奇】【发】【现】【他】【们】【的】【思】【想】【差】【别】【非】【常】【大】，【这】【是】【一】【个】【很】【危】【险】【的】【信】【号】。 【现】【在】【还】【有】【父】【辈】【在】【两】【个】【部】【落】【还】【能】【维】【持】【和】【睦】【的】【关】【系】，【当】【父】【辈】【都】【不】【在】【了】，【这】【种】【和】【睦】【关】【系】【还】【能】【维】【持】【的】【下】【去】【吗】？ 【尤】【其】【是】【他】【们】【还】【会】【和】【第】【一】【代】【那】【样】【教】【育】【自】【己】【的】【子】【女】【吗】？【肯】【定】【不】【会】。【那】【么】【第】【三】【代】【对】【相】【互】【的】【感】【情】【和】【认】【同】【感】【就】【更】【少】
【阵】【容】【确】【定】！ 【上】【路】【德】【玛】【西】【亚】【盖】【伦】 【中】【路】【莫】【甘】【娜】 【打】【野】【则】【是】【李】【政】【宗】【的】【挖】【掘】【机】 【下】【路】【的】【话】【则】【是】【炼】【金】【还】【有】ADCEZ 【炼】【金】【的】【话】【估】【计】【是】【不】【想】【玩】，【开】【局】【就】【会】【带】【着】【疾】【跑】【松】【塔】【的】【那】【种】！ 【李】【政】【宗】【无】【所】【谓】，【仅】【仅】【是】【个】【铂】【金】【局】，【他】【的】【挖】【掘】【机】【目】【前】【可】【是】【王】【者】【级】【别】【的】【熟】【练】【度】。 【对】【面】【阵】【容】【就】【比】【较】【有】【趣】【了】，【上】【路】【是】【沟】【头】【人】，【中】【路】【是】