Stately, deskbound storyteller Mike Daisey brings to D.C. his most recent polemic, both a celebration of this century’s magical technology (especially as designed by Apple Computer) and an amateur’s powerful exposé of toxic working conditions at the Chinese factories responsible for final manufacture of that magic. The piece is even more powerful than last season’s The Last Cargo Cult, showing as it does the unspannable divide between the poorly paid laborers who hand-assemble exotic electronics and the Western consumers who enjoy those gadgets.
Daisey’s physical gifts of narrative are again on display. If he sometimes chooses soft targets (we all enjoyed a rant about PowerPoint in which he bellows [accurately] that Microsoft is great at making “tools to do shit we can already do”), his language has deepened: his allusions range from highbrow to pop, from Walt Whitman and the Gospels to a telling description of downtown Shenzhen “like Blade Runner threw up on itself.”
Just as Apple’s revolution in personal computing changed the metaphor of what it meant to interact with a small computer, Daisey urges us to reconsider the metaphorical lens through which we view technology: his is one of the few theatrical pieces I know of that ends with a call to action in the lobby, with pointers to China Labor Watch and Students and Scholars against Corporate Misbehaviour.
A self-described Columbo in a Hawaiian shirt, Daisey delivers a moving piece—but with a light touch. As he admits, he has suppressed the most gruesome stories that he collected from South China’s Satanic mills, lest his listeners tune out. The work sparks reactions that move beyond head-nodding in the auditorium to genuine conversations on the way home.
- The Agony and the Ecstasy of Steve Jobs, created and performed by Mike Daisey, directed by Jean-Michelle Gregory, Woolly Mammoth Theatre Company, Washington