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Quasimondo Milwaukee Physical Theatre’s Children of Pac-Men explores the societal and psychological clout of gaming, from its inception in classic Atari to present high-fidelity first-person shooters. In keeping with its artistic modus, Quasi gives us multiple narratives and multiple imaginings of the same idea. The majority of scenes are dialogue-free movement sequences that challenge audiences to create meaning for themselves.
Per its title, the play brings to life the children of gaming icon Pac-Man. Director Brian Rott portrays him as an American businessman who, supported by Miss Pac-Man (assistant director Jessica Miller), trains the Pac Kids to fight in actual battle. But there’s a twist: The Red Ghost from Atari’s classic is also a character. Jenni Reinke delivers a shamanic, Japanese-influenced persona who protects her ghost offspring while also having an abusive affair with Pac-Man. In a poignant moment, one of the Pac Kids comes to Red Ghost after being wounded in combat. Once she’s healed him, he wants her to put her mask back on. Atari’s 1980s heyday hailed monumental success for Japanese design in the States, bringing Eastern and Western sensibilities into close contact even as the alienating sentiments of World War II lingered. Pac-Man’s “other family” bears the distinct mark of cultural infiltration and exploitation.
Act II features the narrative of Leapstar (the charismatic Ben Ludwig), a Frogger-esque character who a nurse resuscitates into a show-tune slinging entertainer only to have him fall comatose again before she can prove her accomplishment to others. Perhaps this hints at the specious nature of video game victory. Or perhaps at the transformative power of personal discipline. The ambiguity is enticing.
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The show’s production values are stunning and greatly contribute to its success. Therese Goode’s sound design mixes ’80s-through-present-day pop, presenting it in 8-bit format for an immersive effect. Michael Pettit’s puppets and masks are brilliant. Black light, neon props and light-up clothing all contribute to the sense that we’re inside a giant gaming console. Particularly effective are large “Centipede” segments squirming across the stage with considerable menace.
Although the first act hangs together better than the second thematically, viewers can nevertheless look forward to a haunting cavalcade of images, references and environments throughout. The result is a surreal discourse on the digital entertainments we create to combat and contain our cultural experience.
Through Dec. 6 at Studio G in the Shops of Grand Avenue, 161 W. Wisconsin Ave. For tickets, visit thequasimondo.com.
