Natural Born Killers they are not. Joseph Goble and Mily Mumford of Love is for Superbeasts are as charming as Cheshire cats as they frolic through a retelling of their characters’ crimes, which include multiple murders.
The unnamed characters could easily be mistaken for any young couple in love, but with their own issues, to say the least. When we first meet them they are bound in handcuffs and in the stereotypical institutional garb of drawstring pants and plain white t-shirts. They soon work their way out of their handcuffs, which leaves them free to express themselves not only verbally but physically as well.
Goble and Mumford tango across the stage, and when transitioning to a story about a carnival, they cartwheel their way into it. The physicality of these actors turns a stark setting into their own personal playground, from which they create a three-dimensional world for the audience. Although the stage sports only a table and two chairs, it appropriately creates the setting of an interrogation room. Goble and Mumford further this impression moments after the play starts. They walk up to the edge and are stopped by invisible glass as they stare out.
Creating the impression of an interrogation window allows for an interesting form of audience participation: Goble and Mumford call out members of the audience, yelling at them with venom, asking if they are the bad cop or good cop. Despite now finding themselves incarcerated, it’s obvious these two aren’t ready to give up just yet. This is evidenced in the final, well-conceived surprise twist, which is a nice, eerie way to wrap up the play.
Goble and Mumford put so much energy and charisma into their performances that it’s impossible not to become victims of their magnetism.