Who are you? Who is the man on stage? Do you believe in magic? Pivoting off these questions, "In and Of Itself" enters into a conversation with its audience and performer, Derek DelGaudio—or is he the "Roulettista?" An illusionist? A wolf? The show won't answer your questions but it doesn't have to; it will make a very compelling case for you to consider your answer before you attempt any definition.
The show gives away very little about itself but the reputation of its creators precedes it. It is performed by Derek DelGaudio, a two time Academy Award winning magician. Frank Oz, a four-time Emmy Winner and director of a dozen feature films, is the director.
Before entering the theatre, you pick a self-identifier from a wall covered in cards labelled "I AM" along with a descriptor. The program note is a photo of a hand scrawled letter in which DelGaudio acknowledges the formality of the note and then politely declines to define the show. This, I might suggest, is because the show escapes definition.
DelGaudio dispenses with conventions associated with a darkened audience observing a performance. Instead, he invites the audience to follow him through a series of stories and create something new with each performance. The set is simple without distracting from the narratives or magic, and yet is wonderfully done. There are four inset boxes containing different objects to help DelGaudio tell his stories. As he speaks, the score, composed by Mark Mothersbaugh, guides the audience through different moods and tones.
Carefully woven throughout the show are magic tricks: a disappearing man, an elephant, and multiple card tricks. Whispers like "how the– ," "what," "no way," and any other noise of incredulity should be expected. However, the magic here is not just extraordinary for its quality but also for the way it turns the audience's eye inward. As DelGuadio reveals more about himself through stories and magic, the audience simultaneously finds themselves reconsidering how they perceive themselves and the performer.
Beyond considering perception, the show elicits emotion in a way other shows cannot. By eliminating static space between performer and viewer, the audience stops being a passive observer. From the moment you select a card to the moment DelGaudio takes his bows, you are very much a part of the show. At one point, DelGuadio selects a random audience member to read a letter that is only for them. At the performance I saw, the man reading the letter was caught breathless and nearly brought to tears.
I won't share too many of the particularities of the show because to do so would sell it short and give far too much away. What the audience is left with is a show unlike any other. It is a daring and necessary splash of wonder in a time where recycling old favorites is all too common. "In and Of Itself" offers an intelligent and beautiful exploration of identity in a time where identity politics make it easy to create fractures instead of bridges.
Beside me was a defender, to my right was Mr. Yesterday. But by the time I exited, everyone could not help but glance a little closer, ask a little more of themselves, and second guess what they see. This show opens the door for audiences to dare to believe in a reality with a touch more magic.
By popular demand, In and Of Itself has been extended to run through August 28th at The Geffen Playhouse (10886 Le Conte Avenue). Tickets start at $75. Adult rush tickets are available for $35 and student rush tickets are available for $10. For more information please visit http://www.geffenplayhouse.org/in-and-of-itself
Contact staff reporter Dora Kaplan at dzkaplan@usc.edu
Annenberg Media