Dirt

An illegal immigrant from Iraq paints an ugly portrait of himself with the brushes of American disdain and the bristles of alienation. This one-man show's greatest strength is Christopher Domig, the Austrian-American actor who brings an impressive range of emotion to the piece. Although there is much food for thought and a passionate plea for understanding, the self-hatred is heavy and dismal. It continues long past the effectiveness of sarcasm and pity; what's left is over-indulgent. Photos of Christopher Domig by Jordan Craven
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If the effects of reverse psychology were ever questionable, then all doubts have been put to rest with Robert Schneider's Dirt. Revived from its 2007 run in the NY International Fringe Festival, Dirt is a European one-man show that alternates between a portrait of self-loathing and puffed-up pride, but favors the former. The story centers on Sad (Christopher Domig), an illegal immigrant from Iraq that sells roses on the street to get by. He lives by humble means, has no friends, and is far away from his homeland. With no social life, no money, and nothing else to keep him occupied but his crappy job, Sad has all the time in the world to meditate on his current state. It's bleak, and America is mostly to blame.

Lit only by candles and the most basic lighting design, Sad is shrouded in dim light for the majority of the play, matching his low spirits and discouraging circumstances. He sits on an overturned crate, eating a raw onion like an apple; the repulsive smell wafts into the audience, repulsive because we're nowhere near a kitchen and it isn't chow time. His intentions, apart from enjoying a snack, are clear: Iraqis are repulsive to Americans. "I'm not a xenophobe" he says, before a rant about the current state of the U.S. begins. Before we accept his argument, he calls himself a "dirty, lying foreigner", and takes us back to where we started.

Dirt is a roller coaster of emotions that elicits the same feelings from the audience that it commands in its performance. It is a powerful account of a broken psyche, ravaged by the effects of war and politics. By the time Sad reveals that his real name is Saddam, we already feel like both pawns in a twisted game and witnesses to a gruesome execution. For Sad may not be killing himself literally, but the massacre to his sense of self-worth is real enough. When enraged, his arguments about other immigrants receiving special treatment by the government are biting, but sound. When he talks about his admiration for the English language, his tone is soft; he's charming with the innocence of Edward Norton's character Aaron in Primal Fear and the look of him, too. But like Aaron, Sad's tranquility doesn't last long.

What makes Dirt so compelling is its ability to put a mirror in front of our own attitudes about foreigners and the roles that they play in America. With our international policies currently being reviewed, and our large population of immigrants from many different countries, it was apparent that similar sentiments could be shared across the nation. This translation by Paul Dvorak raises a lot of ultra-sensitive topics that are prickly, but necessary for enlightenment and growth; growth in character, and growth in sympathy. David Robinson's direction of Christopher Domig is like a violinist playing his instrument, evoking pain, passion, anger, sarcasm, humor, and calm out of this gifted actor. The reverse psychology works, making us consider Sad in the opposite manner that he presents himself, but we also know that he owns the feelings and thoughts that he communicates. Sometimes. Although the self-battering goes on too long, it succeeds in riling up the discomfort that is at the core of this piece. The saddest part of the show is that Sad sees no solution to the misunderstandings between himself and Americans. He is divided about his country, divided about his identity, and divided about the Western world. And there's no reconciliation in sight. But perhaps starting a no-holds barred conversation about the problem is the first step towards change. Dirt is revolutionary, current, thought-provoking, and solid. Catch it now before it leaves for the 2008 Edinburgh Fringe.

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Through April 26th. Tickets: $20. Ticket Information: Smarttix: 212-868-4444; http://www.smarttix.com/. KGB - St. Mark's Theatre94 St. Mark's Pl.New York, NY 10009