It helps to know a little about European social and political thought in the 1920s and 1930s to appreciate the Classical Theatre of Harlem's production of "The Crazy Locomotive." Even armed with such knowledge, however, Stanislaw Witkiewicz's rough plot and dialogue are hard to follow. In spite of this, Christopher McElroen's production radiates enough energy that one feels compelled to surrender oneself eventually to the manic thrust of the show.
Witkiewicz, an avant-garde writer and painter from Poland, was a radical critic of both bourgeois capitalism and socialism's "massification" of society. He also lamented the growing industrialization of modern life, which is clear from the principal setting of the play -- the inferno-like engine room of a speeding locomotive. Finally, although Witkiewicz was no defender of traditional morality, like many of his contemporaries, he seems to have associated technology with the chaos allegedly brought on by women's sexuality. There is a very strong sexual (and misogynous) undercurrent to the play -- whether it is the engine's panting, shaking, and piston-pumping, or the "hysterical" female lead, Julia, whose sexual favors are the source of the play's violent climax.
The story itself involves two train employees, Nicholas (Leopold Lowe) and Siegried (Alfred Preisser), who actually turn out to be notorious criminals. Vying for the affections of Julia (Erica Ball), the men push the passenger-filled train to suicidal speeds to see who will "win." The plot is hard to follow due in part to Witkiewicz's absurdist style, but also due to the engine's loud puffing.
The show provides a strong ensemble performance with a physical intensity that is impressive. Perhaps the production's best element is Anne Lomel's engine-room, which looks like it came out of "Metropolis."
Ironically, "The Crazy Locomotive" -- despite all its surrealism and metaphorical force -- is nothing if not lifelike. One leaves the theater feeling as drained as if one had been on the runaway train with the cast.