Straight from Berlin. LEO audience members are not just seeing a cool and moving production, they're getting a peek at the future of theater. LEO's creator and performer Tobias Wegner makes his home in Berlin, a global center for innovative, experimental productions, and Canadian director Daniel Brière found his muse in "the power and radicalism of [contemporary] German stage writing." Together, Brière and Wegner have created something that is both deceptively simple and highly technical, a mélange of genres that opens up 21st-century theater's endless possibilities. German engineering, indeed.
Anti-gravity machine. Otherwise known as circus training. Thanks to his time at a Belgian circus university, Wegner can perform all kinds of twisty acrobatic feats that, combined with a simple but amazing video trick, allow him to become the lonely man in a box where gravity has changed.
Image is everything. Or not. The stage in LEO is divided between the reality and the image, and as Brière says, you can choose which one to look at. Sometimes it's hard to tell them apart. Sometimes what looks easy and natural on the image side is actually being done with acute difficulty, which you'd notice if you looked at the reality side. But come on — given the choice, who's going to look over there?