Wesley Savick, who was commissioned to write the play about Molaison, also helms a production that makes the visceral most of a difficult assignment. Clinical yet mysterious, greatly enhanced by the use of projections, amplification, and a leaping, dissonant score by Tod Machover played live by pianist Tae Kim, the play, which might have been flat as well as repetitive, manages to be both circular and visually seductive. And Barlow Adamson, in the title role, suggests the disorientation Molaison must have felt despite his calm and helpful persona. But there is no getting around the fact that for this analytic reflection on memory and personality to get its point across, the audience must be made to experience the same things over and over, just as Molaison does. And for us, the second and third times are not brand new.

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