Corpo is “pleased to offer you a coffee tablet”. This futuristic new musical is for people who prefer their dystopian science fiction whimsical and often silly. In Corpo takes place in a world where climate change has devastated the land. Inside from the cold and working for Corpo is the road to happiness and fulfillment.
The plot is a mash up of a bunch of literary sources. Kafka’s The Castle contributes heroine K’s name and her struggle against arbitrary control. A Herman Melville short story informs the Bartleby character who prefers not to do his job assignments. If you consider the band Devo as a literary source (and I do) there is definitely a commandeered aesthetic enhancing this zany, slightly undercooked show.
K’s father sends her a message to come to Corpo. Navigating inside with her non-network device she discovers her father is missing. He was the nominal leader of section 13-G employees, a combination of humans and robots. The set up is fun and the many offstage voiceovers amuse. One robot comments “my banter plugin is still in the beta stage”.
Things proceed along quirkily as the existing employees try to figure out what to do since the boss is missing. A probational promotion without training access leads Bendemann (RJ Christian) to singing hysteria with his big vocals. This show really takes off in the middle of the first act. “Movement Mandatory” is a scheduled dance break to rejuvenate and empower forced team happiness. “No interoffice” work can occur during this important time. The choreography by lisa nevada is a spasmatic delight.
Storytelling is secondary to environmental commentary. There is a plot to fix the system. There are so many packets to process and the workload is overwhelming. Good efforts result in being awarded “flavor essences” such as avocado. “Yes!” is the hilarious exultation. The little asides drive the enjoyment of Ben Beckley and Nate Weida’s creative conception.
As in many sci-fi stories, detailed background information is not served. We don’t really know much about how the world got this way nor what Corpo does. That is perhaps the point here. In the future, after the climate has been trashed, the corporate state will keep people engaged in busy work so they don’t have the time or energy to think for themselves – or upset the status quo. That possibility is certainly not farfetched.
The creative team hit a few bullseyes with this effort. Kate Fry’s costumes are waggishly Devo-esque. The memorable Scenic Design by Nic Benacerraf is strikingly inventive and brilliantly conveyed this figurative world. Mary Ellen Stebbins lighting added bursts of color filled with variety as the scenes unfold. Sound Design (Asa Wember) was notably excellent. If you pay attention, there are many tiny noisy details and they were exceptionally well executed.
The “electro-folk-funk” score was tuneful and appropriate but the songs were a mixed bag. A game cast maintained a straight face throughout. Zoe Siegel’s K was rock solid and believable. The HR representative Pepi (Jessica Frey) displayed a good balance between corporate speak and not so hidden urges. Austin Owens Kelly was a standout as Bartleby. His movement, facial expressions and line readings had us all talking at intermission.
In Corpo is an Off-Broadway musical which entertains with far more imagination than a lot of the copycat offerings currently taking up space on Broadway. This story could also be a play and certainly be upsized as a television show. We have not had an imbecilic follow-up to a Lost In Space type sitcom. Perhaps that is overdue. Then we can all cheer for smiling robots since “Everybody Needs Assistants!” In Corpo is simply good fun. Grab your favorite flavor essence and enjoy.
In Corpo is running at Theatre Row until July 8, 2023.