Rodwin gamely juggles several roles, splitting personalities right and left, and right. A textual-musical component runs throughout, but usually without a melodic line, and when songs do appear, they tap into a bland language of pop and Broadway. In its best passages, the sonic framework is based on precise, rhythmic fragmentation passed through a sampler and woven into a fairly simplistic fabric of Rodwin's electroacoustic sounds, Lester Lewis' guitar and Mark Zaki's often doubled violin parts. The sum effect can be a bit too canned. Then again, artifice is part of the aesthetic equation.
Nothing is quite as it seems.
The story itself is told in jigsaw-puzzle chronology, gradually revealing itself. A spare but effective scheme by lighting designer Aaron Francis and director Valeria Vasilevski help maximize the minimal setting. But the stage truly belongs to Rodwin.