Thursday , December 8 2022
Solo performer Erin Leddy digs into an ancestor's life...until Grandma finally says, "No more digging dear, I'm all dug up."

Theater Review (NYC): My Mind is Like an Open Meadow

Erin Leddy’s cleverly conceived, deeply felt, occasionally mystifying My Mind is Like an Open Meadow is a one-woman show starring two women.

In this compact one-hour show, running at 59E59 through Aug. 19, Leddy plays off the recorded voice of her grandmother, Sarah Braveman, an actress born in 1917 whom Leddy lived with in 2001 and interviewed extensively on tape. Recounting memories of a life onstage and off, the old woman’s voice projects from a spotlit boom box or from speakers all around us, sometimes relaxed, sometimes wry, sometimes excitable, sometimes frustrated with old-age memory lapses. Frequently it converses directly with Leddy’s live persona. The actress and creator also uses audio technology and music to transform or enhance it for atmospheric effect. (Jonathan Walters directed the innovative production, which premiered last year in Portland, OR.)

On stage with no other biologically living soul, Leddy uses her own sylphic presence; movement sequences that resemble what used to be called interpretive dance; a little-girl singing voice; and a variety of electronic samples, microphones, props, and costumes to variously converse with and embody her grandmother, persistently digging into her ancestor’s life until, in the climactic song, conjured-Sarah sings, through Leddy: “No more digging dear, I’m all dug up.”

What Leddy has “dug up” isn’t really a story. There’s no tale told, little narrative; the drama and tension arise entirely out of her manipulation and molding of the material: the tapes of her grandmother’s voice combined with her own engagement and reaction. With music contributed by Ash Black Bufflo, choreography by Jane Paik, graceful lighting and scenic design by Christopher Kuhl, and artful “sound design & imagineering” by Casi Pacilio, the show fuses the lives of the two women via a variety of means, from simple conversation to sonic overload.

Numerous moments resound from the grandmother’s life and the granddaughter’s engagement with it: trying to remember the names of long-gone cats; returning day after day to a coffee shop to stare at a waitress who resembles a dead friend; reciting Edna St. Vincent Millay’s great youthful poem “Renascence”; even remembering how panty hose work. There are also moments when we’re not entirely sure what we’re seeing, or how we’re supposed to interpret it, and a segment near the end during which the sound design comes close to drowning out Sarah’s voice as it makes what seem to be key statements.

Quibbles aside, this is a captivatingly creative show, truly something different.

About Jon Sobel

Jon Sobel is Publisher and Executive Editor of Blogcritics as well as lead editor of the Culture & Society section. As a writer he contributes most often to Culture, where he reviews NYC theater; he also covers interesting music releases in various genres. Through Oren Hope Marketing and Copywriting at you can hire him to write or edit whatever marketing or journalistic materials your heart desires. Jon also writes the blog Park Odyssey at where he visits every park in New York City. And by night he's a part-time working musician: lead singer, songwriter, and bass player for Whisperado, a member of other bands as well, and a sideman.

Check Also

Nadia Sepsenwol, Katie Broad, and Christian Prins Coen in 'Complicity' from Eden Theater Company

Theater Review (NYC): ‘Complicity’ Explores #MeToo in Hollywood

An absorbing, pungently played exploration of the stark truths and confounding complexities that spawned the Hollywood edition of the #MeToo movement.