Even before the lushly designed curtain rises on Taylor Mac’s Gary: A Sequel to Titus Andronicus, which opens Sunday night on Broadway (at the Booth Theatre, to Aug. 4), the fluids start shooting forth.
A woman appears and begins to spurt blood from her slashed neck. The blood flies out sporadically, and this looks a little precarious if you are in the front two rows. The woman, inevitably raspy of voice given her injury, muses on the nature of sequels and revenge.
Then the curtain rises on one of the great stage designs of this Broadway season. The sight of hundreds of human bodies immediately confronts the audience. They are piled right in front of us; life-size stuffed mannequins, with red splodges on them signifying wounds. Legs and arms and faces and heads and necks, all in a horrific, mad, limb-clashing, mashing pile-up.