If you are unfamiliar with the reborning phenomenon, it can be more than a little disquieting. Ultra-realistic replicas of actual babies, made by hand by gifted artisans, available on the internet. “People do collect them, for all sorts of reasons”, as Kelly says in Zayd Dohrn’s play Reborning, which is, fortunately, less about reborning and more about relationships.
Kelly works on her art in Urbanite Theatre’s production of “Reborning”
The play is set in the industrial-apartment studio of Kelly, who shares the space with Daizy, who runs is penis-sculpting business out of the next room. One scene takes place at a nearby coffee shop. There are also moments where the theoretically objective viewpoint of the audience is brought more into the distortions of Kelly’s perspective.
Megan Rippey, Natalie Symons and Brendan Ragan in Urbanite Theatre’s “Reborning”. Photo by Cliff Roles
The sound challenge of the show is partially keeping things objective in the theoretically objective things, and subjective in the times when they are not. Kelly’s life has its own soundtrack, and she feeds on strong female post-punk vocals, therefore the opening and a few of her sections are scored or highlighted in that manner. The real world interferes at several points, especially when the two characters Emily and Daisy have their scene without Kelly. There is also a scene in which Kelly comes in to find Emily semi-catatonic and fully clothed in the shower, which I chose to depict in the most realistic manner possible: with the sound of the shower running, louder when the door is open, and being turned off.
A play by Zayd Dohrn
Directed by Brendon Fox
Set Designer: Richard E. Cannon
Costume Designer: Riley Leonhardt
Lighting Designer: Bill Najmy
Videographer: Josh Webb
Stage Manager: Alexa Evans