“The Sonic Life of a Giant Tortoise” is Japanese playwright Toshiki Okada’s third collaboration with director Dan Rothenberg for the New York stage, following their acclaimed productions of "Enjoy" and "Zero Cost House", in 2010 and 2012, respectively. "The Sonic Life" is a fascinating exploration into the banality of white-collar thirty-something life in Japan. The play is produced by PlayCo, presented at Jack in Brooklyn and was translated from Japanese to English by Aya Ogawa.

The action of the play takes place over a series of interconnected vignettes with the actors playing and interchanging through a singular voice that desperately cries out for a change from their mind-numbing existence in Tokyo. This voice meditates on their need to travel, to get away from their endless routine.

The actors speak directly to the audience and often trade glances with each other as if to ask in a non-verbal way, “is it okay for me to speak?” All of this is very Brechtian and utilized very effectively, giving the play a conversational tone without being casual for it’s own sake. The performances from all the actors were light and endearing without ever sinking into the trap of brow-beating the audience with the play's points.

“Grey, grey, GREY!” – a line I have written in my notebook in regards to the set design. Grey. Partially grey walls, intersecting grey carpeting.  The epitome of the modern office culture lends itself to "The Sonic Life's" bleakness.  The play is excellently staged; the actors are often themselves incorporated into the scenery, striking poses, subtly dancing, or just hanging out. The 75 minute run-time for the play goes by in a flash; the pacing is swift and made to appear effortless.

Having said all these glowing things about the play, would I see it again? No. The material doesn’t lend itself to a second or third viewing – you get it on the first go-around.