Review by anonymous
June 24, 2019 certified reviewerWhat I liked
Nearly everything about this beautifully irreverent, wise, fantastical, nimble footed, densely layered yet intimidatingly accessible and always emotional piece is executed with such unpretentious passion, verve, style and swagger – that a four letter word such as “like” never even enters the mind.
Ms Ryann carried an intimacy and report with the audience that seemed without any walls whatsoever – utterly inviting, open – and any seasoned playwright will attest this is anything but a cakewalk. The myriad of voices, impressions, images, feelings and associations she creates just by talking to us (and to the “stage manager” Susan in a meta move, also played by ryann.) leaves you spellbound, questioning the nature of what the imagination can do. Petriellos dialogue is beyond authentic, its so seemingly alive the titular Anna could do anything at any moment – even close the show. It was so real, so full of risk – it felt like any minute of it someone could walk in and ruin it. An atmosphere unlike any other.
The narraive itself, even apart from
the consumate genius of its executing, happens to be a truly touching, gloriously modern take on the meaning of creation, even for yourself – and the cost of balancing reality and fantasy within yourself in every day life. Together, Ms Ryann and Me Petriello are a perfect match. Whether they conquer the world or continue doing plays in small theaters like this – the world is a better place for work like this existing. And thats not lightly said.
Everyone in the audience will continue to remember it every time they take their seats with a PlayBill. This is the kind of play that every member of the audience takes home with them that night. Next morning, it doesn’t just get up and leave, it makes you breakfast in bed and hands you the paper then politely scoots out so it can go check in on all the other audience members it touched that night, and continue to blow their minds till they grow old and die. Forget heaping praise, forget shameless flattery, overhyping mediocre pieces of amateur theater – overused words like vulnerable and brave and relevant (even upon their deepest, sincerest utterances) only captures a teenth of what this did.
What I didn't like
This is the work of two truly formed artists at the height of their own effortlessness – humble, straightforward, lacking in any misgivings or delusions of grandeur, and content to simply be itself with each one of you in the theater for the entirety of the showtime. Improvement is not a relevant word here. Any possible alteration to this material and this performance would be just that, outside of whatever you felt it could be. One thinks of all the one woman shows theyve seen, all the troupes about theater and boisterous gestations and meaningless introspection on the human condition and it all goes right out the window upon seeing these two.
Watching Ms Ryann perform
like this feels like seeing a hummingbird fly for the first time. Somehow – its hovering, right before your eyes. And it doesnt matter what your brain is telling you about its BMI or how its possible that it could be flying at all let alone floating in perfect stillness. In the same way – you see this young woman in a hospital gown telling you stories from her head about dragons and magic and dreams – knowing full well that nothing is there, but somehow – you smell the smoke. The dragon is in the room with you.
Ironic, isnt it? How a play about getting lost in your own dream world would in turn be something you’d want to get lost in over and over and over again. If nothing else – that might possibly be the pairs greatest achievement with this. That they didnt just remove us from the dream, and force us to analyze Anna like a psychiatric board – but made us a part of it, unpretentiously – with great tenderness, compassion, and pragmatism. I feel an immense desire to dream dreams of my own – full well knowing why I want to do so and knowing the reality I face today.
A peerless and mind blowing piece of art that I’ll always remember and always compare future experiences to. One feels this will not be the last we hear of Ms Ryann and Mr Petriello – if anything, this feels like they’re just getting warmed up.
Anna St Hesia Dreams grounded me in reality and took me out an out of body experience. Only the best art does it, and even then – rarely does it do it this damn FUN. It impossible to imagine anyone trying to do it any other way.
I think of one moment in particular, in which Anna describes the brief elating sensation of finally seeing in her dream, a vision of all the other creators in the world, and how special that is.
Anna St Hesia Dreams is that special vision. A dream unlike any other, that permanently wakes you up to the creation all around you.
Iconic, earth shattering, and unforgettable. Thank you for supporting work like this.
My overall impression
In all my life, I’ve never seen a seated audience so enraptured by a single performer. Jinny Ryann is, bar none, without question, the performer of her generation, and whether everyone in the world sees her or not – this is one of those performances that permanently alters the way you see theater.
In the span of about 50 minutes, Ms Ryann (along with writer / director Drew Petriello, conjure more vivid imagery, conflicting emotions, and ultra satisfying conclusions than a decades worth of drama school productions. Simply by acting it out for us. Physically, vocally, sonically – the pair appear to be operating at a level beyond effort, where all words and theory and practice fade away and you’re left simply gliding along with a fascinating human being, showing you the world they occupy – with little more than a gown, a voice recorder, and a cheap plastic radio. I’d emphasize this more, but Anna herself would probably already be onto the next core development.
