Undone, About Face Theatre. In the boho slam-poetry world of the late 80s and early 90s, Cin Salach was queen. Perky, always smiling, with punky short hair and a smooth, hypnotic voice, she could make anything she wrote sound intelligent, deeply felt, and spiritual. Because she was fun to watch and listen to, no one really cared that her poems were frequently just knots of nice-sounding words and images that refused to disclose their meaning.
The intervening years seem to have hardly touched Salach. Though she talks in this show about her marriage going south, discovering that she’s a lesbian, and falling for a woman who ultimately couldn’t return her love, she still beams when she speaks, and her poetry is still a marvel of form over substance.
Eric Rosen’s staging merely adds another layer of spectacle to Salach’s words: an ensemble of attractive men and women, a handsome set by Geoffrey M. Curley, and an onstage band performing music by Andre Pluess and Ben Sussman. But all this theatrical firepower can’t disguise the fact that Salach’s writing is the least important component of her performances–it all sounds the same–or that her years of tribulations and therapy (she thanks two therapists in the program) have not made her a better poet.