By Bill Marx
The Gaaga’s humor is driven by rage, anger, and disgust, emotions that are not often found in our domesticated (for easy consumption) theater scene.
The Gaaga (The Hague), a site-specific phantasmagoria written and directed by Sasha Denisova. Co-directed by Igor Golyak. Environmental and projection design by Irina Kruzhilina. Staged by Arlekin Players Theatre & (zero-G) Virtual Theater Lab at the Beat Brew Hall, 13 Brattle St., Harvard Square, Cambridge. Live, in-person through June 18. STREAMING WORLDWIDE: Live online through June 18.
The cast of The Gaaga in the bomb bunker. Photo: Irina Danilova
Why is The Gaaga such a welcome production? There has been virtually nothing about Russia’s 2022 invasion of Ukraine on Boston’s stages. Nada. Apparently, our theater artists are indifferent to a horrific conflict that is changing the world. And that apathy about what is going on around us is not a one-off. Nature itself is under dire threat — climate scientists have now concluded that it is too late to save Arctic summer ice. (Of course, these tragedies intersect: the Ukrainian dam the Russians are accused of blowing up is an environmental disaster.) You would think the climate crisis or a major war in Europe would inspire work from serious dramatists and stage companies, shake up staid and established repertories. But, as far as I can see, there are no productions addressing the ongoing climate catastrophe in next year’s season. That might change, if some of the recent wildfire smoke that descended into the Northeast from Canada wafted into the right nostrils at…