an expansive exploration of the contemporary art world
In the Eye of the Beholder is an art-heist play. Unlike traditional heist content – Oceans 11, for example – In the Eye of the Beholder is more thoughtful dialogue than action sequence. Karina Wiedman’s script is less interested in the nature of crime than the nature of art. The one-act play dedicates its 40-minute run-time to debating and dissecting the contemporary art world. On the subject, In the Eye of the Beholder asks notable questions such as – who is allowed to make art? How do we assign value? What is the function of creativity in a hyper-capitalist world?
The play is a two-hander set in a high-end Soho art gallery. Harry Harrington plays the bumbling but increasingly sympathetic aspiring thief, Martin. Iniki Mariano is Tina, the dedicated gallery employee standing between Martin and his coveted piece. Their dynamic is natural. Mariano’s singing voice and Harrington’s comic timing make for particularly enjoyable moments between dialogue.
As the conflict between Martin and Tina unfolds, so do their backstories. Eventually, their discussion segues beyond the personal and into grand interrogations of art: its purpose, meaning, and commodification. This conversation is modestly unbelievable in context, but it is the conversation Wiedman wants to have and, to that end, the setup is successful. It’s easy to suspend disbelief, especially as In the Eye of the Beholder offers provocations that deconstruct words like “subjective,” “classic,” “artist,” and “genius.”
In the Eye of the Beholder is not short of interesting ideas. Regrettably, the play does not focus on any one long enough to mine fresh substance. If art is the core theme, the core message is unclear. The discourse in the text is especially confusing when it abandons thematic throughline entirely. Conversational departures into cremation and burial decisions are hard to reconcile with the rest of the scene. These tangents feel particularly expendable given the density of relevant ideas already packed into the short run-time.
Despite the lack of focus, there is an intentional and thought-provoking ambiguity throughout the play. The representation of art on-stage, as with all art, is open to interpretation. This particular set design choice by Kinga Czynciel is a stand-out instance of absurdity that invites heightened absurdity throughout.
In the Eye of the Beholder was on at Playhouse East for just two nights, but anyone interested should be sure to look out for a subsequent run. The creators promise they are working towards “a second life.”