O’Donovan plays Terry — “just a male in a cafe,” he tells us — and what we see on a phones is whatever he’s looking during on his. When he listens by his possess headphones to song or a white sound of a waterfall, we hear that, too. (Creative record pattern is by Marmelo, video by Preference Studio, combination and sound by Yaniv Fridel.)
Terry, who seems introverted even as he addresses a cafeteria full of people, still reads a imitation book of a journal and does his essay in a pages of a notebook. His ex-partner, Luka, was a opposite, extroverted and enmeshed online — on Twitter and Facebook and a horde of other apps.
When Luka dies unexpectedly, Terry’s initial spirit comes from a torrent of mysterious upraise texts sent by friends who assume he already knows. Soon he learns that he is Luka’s digital executor. It’s adult to him to confirm what to do with a many traces of a male he desired that are floating in cyberspace.
This is a plot, and it’s reduction than gripping, partly since Terry and Luka are (deliberately) such everymen. As Terry navigates his difficult grief, combing by Luka’s tweets for fugitive validation of their common offline life, a uncover gets baggy. It meanders tighten to what seems like an finale a integrate of times before a tangible finish.
Yet a experience, that continues an welcome of a digital underneath BAM’s new artistic director, David Binder, is nonetheless weirdly effective.