The gauzy dream-world of their storytelling where we can zip from West Virginia to Scotland makes this adventure magical and messy. The labyrinthine format of the show is a fitting way to explore as complex a morass as identity. Nothing is fixed. Ideas morph with time and so too must our storytelling. Exeunt
“An exhilaratingly bumpy ride into the myth-making landscape of America…The pleasure is in the piece’s highly developed sense of the ridiculous…It’s a joyride into the construction of identity, and one with unexpected emotional resonance.”
“Combines witty cultural literacy with a tender intimacy… anchored by two performances of enormous conviction – a technically dazzling one from Sieh and a subtle, profoundly emotional one from King that lays bare the soul of America as a land full of heroes that is also a very lonely place to be.”
“The juxtaposition of President and popstar encapsulates something vital about masculinity…Image is key too: the way we present to the world, the identities we construct online, and our failure to measure up to our sense of self or our sense of others. It is, amongst other things, one of the best portraits of depression I’ve ever seen.”
“Two brilliant comic performances, born from rigorous research and intense acts of gender-bending empathy, make this a surprisingly easy sell from the get-go…when a company as talented as The TEAM serve an all-you-can-eat-feast, it’s worth adjusting your waistband.”
“RoosevElvis is far too empathetic a play to lend itself to cold deconstruction…[It’s] the company’s most intimate work that I’ve seen, and also its warmest…a lot fresher than most new plays you’ll see this season.“
“…researched to the teeth, [RoosevElvis] offers a spirited and insightful commentary on two archetypes of American masculinity, while finding teasing ambiguities within both that suggest that machismo is a shaky existential choice.”
“..More buoyant than theatrical material has any right to be…RoosevElvis‘s velocity sweeps us into gorgeous, buoyant nonsense without our noticing…The audience laughs—not with recognition or self-satisfaction, but with the purest kind of astonished delight.”
“This glorious show is strong precisely because it focuses, at long last, on individuals. It fully, totally revels in King’s gravelly, bourbon-soaked tones; it exploits to the last degree Sieh’s titanic comic gifts…Some astonishing scenes, several the best I’ve seen this year, are the result.”
“a stirring, absurd, and grandly human historical-cosplay road-trip fantasia…a big-hearted and affecting examination of that most American of faculties: imagining yourself as bigger, grander, and more, no matter how little you might be.”
“The most awesome buddy comedy in American history…in typical TEAM fashion, it explores so much more, from the limits of hero worship to the impossible standards of masculinity in America, and all with thrilling athleticism and unfailing intelligence.”
“Command performance[s]by King and Sieh who carry the whole production by weaving in and out of their characters and counter-characters seamlessly…[they] deftly spar across the stage through historically biographical reflections and witty one liners.”
In June 2013, the TEAM took Mission Drift across the pond to The Shed, the National Theatre’s temporary theatrical space on the South Bank in London, where it was met with great enthusiasm and positive reviews. Check out what the London press had to say about Mission Drift and the TEAM:
“A theatrical tornado, and a sideways glimpse into America’s tarnished, weary soul.”
“American capitalism really is a mindfuck of a subject, and if you’re going to attempt to address its entire history in a couple of hours then you really need a mindfuck of a play…Mission Drift is a whirlwind of song and sound and surreal vignettes that conveys the dizzying mania of America’s rise with an energy that’s part sickening, part exhilarating.”
“Mission Drift gets under the skin of American capitalism, while dazzling with its expansive ambition. With this pulsing piece the TEAM has given the capital its most politically potent musical since London Road.”
During the final week of the Mission Drift run in New York City, Heather Christian and I went over to the NPR Studios. We were both extremely excited, but Heather can testify to the fact that my face almost shattered I was so giddy. With eyes wide we followed Margot Adler as she gave us a tour of the studio. Almost everyone was out to lunch, but it didn’t matter. I saw the desk of Robert Krulwich. And we even waved at Zoe Chace and Chana Joffe-Walt from Planet Money.
We sat down with Margot and discussed the work, which she’d seen previously.
CLICK HERE to listen to the awesome story that she put together.
Here we are, a little past the halfway point of our 4-week NYC run. If you haven’t seen the show yet, or are wondering what your opinion of the show should be, here’s a roundup of some of the things that have been written about Mission Drift so far in the New York City press:
Of all of the art inspired by the global economic crisis, perhaps none is as lusty and energetic as Mission Drift, the new musical by New York theater company the TEAM.
There’s a lot about the company’s new project to take heedless, heady pleasure in… Pleasures aplenty.
The New York Times
Mission Drift examines heady concepts without ever losing its heart. Thanks to strong writing and powerful performances, the TEAM never forgets to have empathy for their subjects… Mission Driftcaptures the zeitgeist while daring to suggest hope for the future.
Mission Drift made the roundup of TONY’s suggestions for not-to-be-missed theatre shows this winter–right up there with Phillip Seymour Hoffman as Willie Loman and Kevin Spacey as Richard III. We’ll take it.
One of New York’s premier troupes… The TEAM presents it’s latest theatrical brainstorm.
“This is the perfect moment to welcome back to Edinburgh the young TEAM company of New York, with their mighty new show Mission Drift… brilliantly sustained by this whole eight-strong company of performers and creators, and cheered to the echo by an audience who know that America’s physical frontier has gone, but who can recognise the thrilling frontier of 21st-century theatre when they see it.”