Watch Me Walk
Anne Gridley begins "Watch Me Walk" by taking its title at punishingly literal face value. She introduces herself, grips her walking stick—never a cane, a semantic correction that quickly reveals its philosophical weight—and proceeds to walk the length of the stage again and again, in near silence, for so long that the initial charge of provocation slowly discharges. What remains is not suspense but facticity. In another theatrical ecosystem, this might register as endurance art or a sly conceptual prank; here, in a Soho Rep production presented in association with the recently concluded 2026 Under the Radar Festival, it operates as a recalibration of spectatorship itself. We arrive alert, waiting for the performance to “start,” only to discover that it already has—and that the only thing lagging behind is our attention. [more]
