The Leg
Conceived by Sophie Amieva & Katerina Marcelja; Directed by Sophie Amieva
Mitu580 | 580 Sackett Street, Brooklyn, NY 11217
May 23-June 7
Photos by Rebecca Marcela.
Oh, hello Gowanus. In the industrial part of Brooklyn, better known for its canal, its warehouses, and a history of oysters and industry, there’s a little storefront theater called MITU580. You could easily pass it by if you weren’t paying attention. But I was drawn in—curious and hopeful that my journey into the depths of Brooklyn would be rewarded—and it was.
The Leg, conceived by Sophie Amieva and Katerina Marcelja and directed by Amieva, is not your typical theater piece. It’s a haunting, visceral blend of Bouffon—the French art of grotesque mockery—and Butoh—the Japanese dance form known for its expressive, often surreal physicality. Influenced by the philosophies of Michel Foucault and Paul Preciado, this is performance art that dares you to let go of narrative and lean fully into a visceral experience.
From the moment I entered the theatre space, I knew I had to let go of expectations. I was asked if I was old enough to drink by a performer dressed in wings and a cone hat. Audience engagement was direct, awkward, sometimes hilarious. The space was dimly lit but charged; something was always about to happen, and when it did, it was unexpected, specific, and surreal. One audience member was made to publicly acknowledge a bottle of tequila in his bag—one of many moments that blurred the line between participation and performance.
Displacement is a major theme. But don’t go expecting a linear story. This is not a show that “tells” as much as it “conjures.” Each audience member will leave with a different interpretation, a different memory of what occurred. It’s less about what happened and more about how it happened to you. If you’re someone who needs narrative realism and neat conclusions, this show may push your boundaries. But if you can leave those views at the door, The Leg will give you an intensely personal, deeply felt experience.
There’s a strong Marina Abramović energy here—a mix of vulnerability, presence, and performance-as-endurance. The soundscape, created by Ryan Gamblin, is richly layered, heightening the dream logic of the piece. Lighting by Jacqueline Scaletta works like a heartbeat—sometimes warm and pulsing, other times sharp and isolating. The set and costumes, designed by Marcelja, use mixed materials that feel both ancient and post-apocalyptic.
The performers—Eleanore Pienta, Eilish Henderson, Mark Bankin, Nicolàs Noreña, Tallie Medel, Rina Dutta, and Zachary Desmond—commit fully to the world of the piece, delivering detailed and specific work that demands physical rigor and emotional risk. Choreographer Mark Bankin’s movement work is grotesque and beautiful—sometimes both at once.
“Break a leg.” “You don’t have a leg to stand on.” “You’re pulling my leg.” These are the top three idioms that popped into my head while entranced. Good luck. Doubt. Trickery. All these idioms swirl through the piece, becoming metaphor, movement, memory. For me, the leg symbolizes madness, humanity, and rebellion.
notAmuse Theater’s mission is “to create visceral theatrical work that peels back layers of human complexity and social power in order to recognize the true core of one another’s humanity.” The Leg lives fully in this mission. It’s funny, unnerving, elusive, and bold. You may not “get it” in the traditional sense, but if you let it, the show will get under your skin—and stay there.
Click HERE for tickets.
Review by Malini Singh McDonald.
Published by Theatre Beyond Broadway on May 28th, 2025. All rights reserved.