The Many Monsters of Ars Nova’s “The Beastiary”

Created by On the Rocks Theatre Co. (the two person co-writer and designer team Christopher Ford and Dakota Rose) The Beastiary is a hypnotic feast for the senses, engorging its audiences in a strange world of color, spectacle, apocalypse, and destruction. Perhaps at times it left me somewhat overstuffed (read: out of my mind with sensory overstimulation), but despite the show’s own warnings about indulgence, I’d still eat this “medieval meets modern” masterpiece again and again. 

Directed by On the Rocks member Dakota Rose, Ars Nova’s “twisted comedic puppet pageant of consumption, corruption, and the end of human-kind” now playing at Greenwich House Theater is an aesthetic wonder. From the moment one enters the theater they are accosted with a bright rainbow backdrop, menacing omniscient eyes, and teeth just on the brink of gnashing (set design by Ford and Rose). We are thrust into the action with an eruption of flashing lights (Kate Mcgee does lighting design) and the delightfully eerie music of Dorit Chrysler performed by Cornelius Loy on theremin and music supervisor Ellen Winter on other instruments (Enrico de Trizio does sound design). These otherworldly musicians are nearly as compelling as the events onstage and my eye was often drawn to them in the play’s slower moments. 

Marc Bovino, Gil Perez-Abraham, Phillip Taratula, Rebeca Miller(c)Ben Arons

The show lurches us back and forth between the last eight remaining human souls on earth as they confront the many beasts that now populate their world. The exceptional and hilarious ensemble (each brightly clad in Ford’s gorgeous, monochromatic costumes) is made up of Jeena Yi, Marc Bovino, Gil Perez-Abraham, Phillip Taratula, and the scene stealing Rebecca Miller. Each takes on multiple roles with dexterity and precision. 

Every vignette provides new visuals to marvel at. Giant legs! Chortling demons! An authentic unicorn! The effect is jarring, but usually interesting enough to propel the overarching narrative forward. And just what is this overarching narrative about exactly? Well it begins with a fateful act at a wedding rehearsal dinner– an act of consumption and indulgence that brings about 30 years in which beasts rule the planet.

Marc Bovino pc Ben Arons

Certain themes around privilege, and greed emerge, but overall none are as encompassing as the chaos of both destruction and redemption. It’s no small feat, weaving so many stories so intricately together while maintaining a general atmosphere of disorder. It made me think of our current moment and the way the many crises we face are both inextricably interconnected, and individually overwhelming. But this is just my take away. A note in the program offers interesting insight to how the piece was constructed but little information on why. Is it meant to be dense with layered meanings and resonances? Is it a world we are invited to immerse ourselves in but not to understand? Is it merely a vehicle for Ford’s spectacular puppetry? Perhaps it’s best just to let the magic wash over you and not worry too much about it. Regardless, The Beastiary has much within to amuse, frighten, baffle, and astound.