Bros, as in brothers. Romeo Castellucci
Twenty-three men are central to this work. There is no requirement for them to be actors, and no conventional rehearsal process for them to go through beforehand. There is only a pact: they are there to follow orders, no matter how strange or baffling these may be. A monumental farce involving free will, played out on the Onassis Stegi Main Stage.
These men recruited by Romeo Castellucci – who are dressed and act like law enforcement officers – carry out commands fed to them via earpieces throughout the performance. There is no room here for improvisation of any kind. They must obey.
As disturbing as it is ingenious, Bros unfolds within a compaction of space and time – within a boundless present and an uncharted “somewhere/anywhere”. Law itself is set up to (in)visibly star alongside the on-stage throng. Romeo Castellucci orchestrates an awe-inspiring, existential farce that spurs us to re-examine our relationship with freedom, justice, violence, personal responsibility, critical thought, accountability, and obedience. The theater stage is transformed into a metaphysical setting through which humanity parades as a kind of subservient brotherhood, ready to rip its own flesh to shreds at any moment.