The National Theater has been transformed into a giant temple, the stage apron lit by scores of small candles flickering in small red glasses. Mirrors begins slowly, quietly, with a drummer slowly walking across the apron to light the giant candle in the middle of all the smaller ones. A second drummer enters a few minutes later, and after settling himself down, the two softly begin to play lightly on their drums.
From that soft beginning, Mirrors moves from one segment to the next, changing in pitch and intensity, as slow, stately movements are replaced by grotesque contortions or flashes of speed.
Lin takes the audience on a gripping, surrealistic journey, peopled with almost nightmarish creatures, goddesses and acolytes, that leaves audiences with a memory that they will treasure — and reflect upon — for years to come.
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