When Bob Rauschenberg's mother (Mari Marks) delivers her tender slide-show about the rural Texas childhood of her artist son, and none of the slides matches the descriptions she's offered, you have to know something's up, conceptually. Whether or not you're familiar with the '50s-'60s collagist painter-sculptor, Charles L. Mee's 2001 extrapolation of what Rauschenberg might have written in order to explain how he assembled junk into evocative reflections on our place in the world stands alone. Marina Mouhibian's set decorates the stage and the proscenium walls with vintage kitsch as the 10-member ensemble plays out a series of somewhat interconnecting sketches about romances gone awry, violence, politics and metaphysics – though there are digressions for a series of chicken jokes. Bart DeLorenzo's staging preserves the tone, inherent the text, that's both wry and frivolous, abstract and pop, with one breakout poetical excursion into Walt Whitmanesque grandeur, delivered by a hobo (Brett Hren) and accompanied by Dvorak's Symphony from The New World. [Inside] the Ford, 2580 Cahuenga Blvd. E., L.A.; Thurs.-Sat., 8 p.m.; Sun., 3 & 7 p.m.; thru Feb. 28. (323) 461-3673. SpyAnts Theatre Company.
Thursdays-Saturdays, 8 p.m.; Sundays, 3 & 7 p.m. Starts: Jan. 23. Continues through Feb. 28, 2010
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