"Unexceptional Tricks"

a review by Christopher Moore

If you are curious at all about Dadaism, see Unexceptional Tricks. Max rada dada’s Unexceptional Tricks is one of the most singularly unique and refreshing theatrical experiences I have ever encountered. While it is tempting to compare elements of his show with known cultural commodities such as PeeWee Herman, the early Steve Martin, or Joel Hodgson, such comparisons would not do this performer or his show justice. Suffice to say, if you have ever at anytime found humor anywhere at any point in your life, you will find this production irresistible. The novelty of this play’s construction, the ingenuity of its execution, and the snap of rada dada’s wit ensure a delightful experience.

The show is greater than the sum of its parts, which in this case means a great deal given the number of parts involved in the show. His spatula collection alone numbers over 15,000 pieces, sent from people around the globe. From the tinkling sounds of a carnival organ that drift in and out of the performance to the enormous sea of everyday items spread around the stage, all elements of this production are tuned to delight. Dressed as an Eagle Scout with a moustache that could’ve been drawn on his face by Marcel Duchamp himself, rada dada performs unexceptional tricks and tells unexceptional stories, but the result is magic. As a performer, rada dada’s style is casual and endearing. In addition to his tricks, rada dada shares his collection of unique art, which he reveals has been created by circus and sideshow performers from around the world. It is tempting here to catalogue the details of his art collection and the particulars of his tricks, but to do so would be the equivalent to giving away a surprise ending. Suffice to say, I saw a stage effect involving three cardinals that defies description, and is perhaps the best technical achievement in any theatre this season. Another favorite trick was a game called “Come on” which featured board games ornamented with the images and details of various vacations rada dada had taken. I could give more details, but it would spoil the fun.

Rada’s variation of dada could be dissected in terms of the theatrical tradition of Dadaism, and a thorough intellectual consideration of this piece would surely link this show to the art of Duchamp, Raymond Roussel, and other mothers and fathers of dada. However, viewing this piece through that lens might deny you a rare and true dada experience. That would be a shame. This show made me see ordinary things in an exceptional way, and I am confident others will have the same experience. The spirit of joy that emanates from the world of rada dada is contagious, and as I left, I was sure that I saw inanimate objects smiling.

from FringeNYC 2005 Reviews

Rada Dada's Unexceptional Tricks
Collective:  Unconscious
279 Church Street
 

In the sprit of Duchamp, Tzara, and varioius outsider artists,  Max Rada Dada,  a fiftysomething nomad who tours from a base
in North Carolina, entices New Yorkers to play as he performs visual puns, crates clattering chaos with pots and pans,  shares collections of bizarre objects.   WEaring  his old Eagle Scout uniform,  a twirly ringmaster mustache penciled on his handsome face, he enlists us as an impromptu percussion section, calls on us for help with the risker tricks, takes our money.   This probably works better when his precious collections are spread out as a carnival sideshow, rather than deliverd to a captive theater crowd, but it's still a real eye-opener; John Cage would have loved it.

Elizabeth Zimmer

from the Village Voice