BROOKLYN: Writing about British comedian-turned-monologist Daniel Kitson can be Kafkaesque: He doesn’t do interviews, distribute scripts or permit recordings of his shows. The upside to this could be that each show exists in a shroud of mystery that’s only uncovered by attending a live performance.
Kitson’s latest show, Analog.Ue (premiering at St. Ann’s Warehouse in Brooklyn through Dec. 21) is billed as “a new show about a pre-recorded story.” Kitson writes on his website, “It will be unlike anything I have done before. And also, I suppose, quite similar to everything I’ve done.”
The 36-year-old contrarian sports a lumberjack beard, thick, black-framed glasses, and a thoughtful and dry delivery that can conceal intent but is unflappably genuine. His monologues unfold like conversations in which he inhabits all of the characters.
In The Interminable Suicide of Gregory Church, which St. Ann’s presented as part of the 2011 Under the Radar festival, Kitson pieced together the life of a reclusive retiree living in a rural village through 25 years of letters. His last show (It’s Always Right Now, Until It’s Later) told the epic almost-love story of two unremarkable souls whose lives nearly intersect for a brief moment. In Interminable Suicide, Kitson confesses having “a pathological fondness for glimpsed lives,” and St. Ann’s Warehouse artistic director Susan Feldman says that Kitson’s honesty and sense of humanity drew her to his work. Of the ever-elusive storyteller, she notes that the ex-artistic director of the Traverse Theatre in Edinburgh has worked with Kitson for 10 years—without ever meeting him.
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