It is beautifully performed by the MFA candidates Katherine M. Clemons, Christopher Eastland, Mona Eldahshoury, Stefon Funderburke, Ural Grant, Kim Seabright Martin, Oscar Quiroz, and Jacob Theo Squire — with the agile choreography of Cassidy Williams as the co-puppeteer who sequentially shares the “Stevie” puppet/persona/costume with each of the other actors speaking for him, in turn.
The lighting (Bunni Gutierrez) sound (Brandon McDuff) and especially the media projections were spectacular (Alison Dobbins and Lauren Spiegel.) Costumes were impressive in the “other dimension” too (Katerin “Kat” Poon).
We were at somewhat of a disadvantage in that the printed programs with the QR code linked to the digital program arrived only shortly before the show began, and we did not have time to read the very illuminating Director’s Note by Ji Won Jeon. She explains how the play "offers an alternative path to belong for those who are unwilling or unable to mold themselves to fit in” along with other illuminating observations. The Dramaturg’s Note by Daniel T. Smith is even more helpful as a kind of roadmap to this complicated and often surreal script.
We found the show entertaining and an audio-visual treat — but difficult to follow. I believe the virtue of creating nine meaty roles also served as a vice, piling the sandwich so high it became a challenge to consume in one sitting — and too long, two hours and 25 minutes, plus one 15 minute intermission.
I would strongly recommend reading both the Director’s and Dramaturg’s notes ahead of seeing this play http://theatre.msu.edu/stevie Perhaps, armed with their insights you can keep all the relationships/subplots straight.
Stevie and the Real World runs through February 19 at MSU’s Fairchild Theatre. Tickets at: https://www.whartoncenter.com/events/category/dept-of-theatre