Ashley Jones and Avi Pryntz-Nadworny appear to have one goal in “INDOORS” — to have as much fun with each other and the audience as possible. In a piece that centers around a single door, Jones and Pryntz-Nadworny use physical strength and stamina, mime, comedy and illusion.
“INDOORS” seems to have stemmed from Jones and Pryntz-Nadworny brainstorming the most ridiculous concepts they could think of — and then pushing them a bit further. From spitting grapes into the other’s mouth to stealing (and wearing) audience members’ coats, their work is all about play. The result of these two artists egging the other on is 60 minutes of pure imagination onstage.
In the opening sequence, Jones struggles to pull a rope across the stage to the tune of dramatic music. A swinging bright blue and lime green door is attached to the end of his rope, which is then attached to a second rope, which pulls a struggling Pryntz-Nadworny onstage. The audience is immediately asked to question what they’re seeing onstage. Who is pulling who? Is the door actually that heavy? Where does the rope end?
The fourth wall—a theatrical concept that keeps the audience separate from the stage—is broken within the first few minutes. An audience member, who has likely been vaguely instructed by Jones and Pryntz-Nadworny, answers the door onstage while they’re alternating rhythms knocking. When Jones asks why he’s there, the audience member simply replies, “I heard a knock.” The scene makes it clear that there are no rules in the world of “INDOORS,” and it’s easiest to go along for the ride.
Jones and Pryntz-Nadworny are impressive physical movers who showcase their mastery of partnering throughout the work. They smartly use the doorframe as a third character. The moving structure allows the performers to push the limits of standard partnering and adds a sense of risk to their already tricky choreography.
Although the performers’ athleticism and gravity defiance are integral to the show, the true strength of “INDOORS” lies in its humor. Jones and Pryntz-Nadworny discovered a harmonious balance of slapstick, prop comedy and surrealism. They use just enough vocalization to engage the audience without pulling attention from the scenes they’ve created. A few moments of transition are a bit clunky, but the audience is likely too busy laughing to notice.
The humorous climax is a scene in which Jones, who is shivering and can’t seem to get warm, adds layer upon layer of audience coats, hats and scarves. He feeds off the audience, improvising without fear of invading personal space. Jones, whose comedic timing and facial expressions never fail to evoke laughter, thrives rather than shies away from any awkward interactions. His commitment lets the audience know it’s OK to exist alongside him in this strange world.
After choosing the perfect pair of coats, Jones and Pryntz-Nadworny dance behind the coats — now hung on a clothesline that starts from the door, which has also been turned upside down, along with any concept of traditional theater —and ends offstage. What ensues is a bizarre scene that ends with Jones citing Shakespeare to an audience member’s coat.
“INDOORS” is not for a family seeking a night at the ballet, but it’s delightful for all ages. Jones and Pryntz-Nadworny opened a neon door at the edge of reality and dove in headfirst to the whimsical land they found on the other side. With “INDOORS,” they invite everyone else to join them in their bizarre world of clowning and curiosity.
“INDOORS” runs through Dec. 6 at MuCCC, 142 Atlantic Ave; more info and tickets here.
Sydney Burrows is a contributor to CITY.
This article appears in Dec 1-31, 2024.
