I’ve long believed that my immortality will come in the form of memories — my family’s, my friends, my co-workers.
Playwright Will Eno seems to have validated that thought.
At least that’s what I believe after seeing “Wakey, Wakey,” his comedy-drama at San Francisco’s American Conservatory Theater.
I learned quickly that his 75-minute, intermission-less play isn’t linear.
Unless I’m willing to believe that his zig-zagging, cerebral thought-balloonsthat gush like effervescent streams of consciousness — or subconsciousness — can be considered linear.
Where I can draw a direct line in “Wakey, Wakey” is between birth and death as Eno draws a wordy portrait of Guy, a terminally ill everyman in a wheelchair mulling his life and mortality via a series of existential questions and pauses.
In effect, Guy delivers his own eulogy at a celebration-of-life/wake that’s yet to occur.
And his words become a Rorschach test for me and every other audience member ready to examine the baggage we brought to the theater.
“Wakey, Wakey” is primarily a provocative, sometimes unfathomable monologue delivered in tour-de-force fashion by two-time Emmy winner Tony Hale (of “Veep” and “Arrested Development” fame).
It focuses on time.
Consider this crucial tidbit: “Time is your friend and time is your enemy.”
Consider, too, that the play starts with this relevant question and statement: “Is it now? I thought I had more time.”
Eno’s deconstruction of life is adroitly directed by Anne Kauffman, who, while noting in an interview in the program that “Will’s plays are like free association” and that the playwright’s style “is no frills, no flashy things,” envisions “Wakey, Wakey” not as a play but “a conversation with the audience.”
Which she proves to be a reasonable hypothesis.
That conversation touches on — among a multitude of other things — joy, peace, light, animals, fortune cookies, ball-playing, marching bands, acceptance and ice cream.
Bearing in mind that it’s foundation is death, it’s incredibly upbeat.
And it spotlights non sequitur one-liners sure to garner chuckles when not furrowing brows. Such as, “You’ll probably produce two swimming pools of saliva in your life. Use it wisely.”
In the final analysis, the play’s virtually impossible to categorize, certainly not in the usual theatrical terms — and, despite its preponderance of humor, contradictions and unexpected projections, not for those who can’t deal with the notion of death.
Eno, an Obie Award winner and Pulitzer Prize finalist who also wrote “Middletown” and “The Realistic Joneses,” has also penned a short, never-before-seen companion piece commissioned by A.C.T., “The Substitution,” specifically for these performances.
Like the main go, the roughly 12-minute tangential prelude features Kathryn Smith-McGlynn. It is backed by four students from A.C.T.’s MFA program.
It, like “Wakey, Wakey,” relies heavily on humor (despite, unfortunately, being now and then inaudible).
And it, too, spotlights pithy if sometimes unclear commentaries: “Pretend this is a test…Pretend this is a celebration…Pretend none of this is pretend.”
Walking out of the A.C.T. Theater onto Geary Street, I overheard a balding man plead to a companion, “Please tell me what that was all about,” at the very instant a woman several feet behind him was proclaiming, “That was one of the most fascinating shows I’ve seen in ages.”
I guess you had to be there.
“Wakey, Wakey” plays at the American Conservatory Theater, 415 Geary St., San Francisco, through Feb.16. Night performances 7:30 p.m. Tuesdays through Thursdays, 8 p.m. Saturdays and Sundays; matinees 2 p.m. Wednesdays, Saturdays and Sundays. Tickets: $22 to $120. Information: (415) 749-2228 or www.act-sf.org.