During the 1950s and 60s, the U.S. government performed a series of tests on people using drugs like LSD in conjunction with hypnosis in order to perfect torture and interrogation techniques, as well as to try and find a way to increase certain aspects of human brain function. Records of this project were destroyed by the CIA in 1973, save for a few scraps of evidence, and of course, the testimony of survivors. Rumors continue to circulate that the project, dubbed MK ULTRA, continues in some form today. This grisly chapter in our history serves as the basis for the experimental dance troupe known as FrenetiCore’s latest showpiece, MK ULTRA, which is runs through June 19 at Frenetic Theater.

Photo by Jef With One F

Before we were allowed into the theater, we were first ordered to sign a waiver to participate in the experiment. We were also offered the chance to participate in the voluntary drug program that was to occur throughout the night, which I declined as I had to pick up my infant daughter right after the show. What exactly was offered through the hose and mask conveniently mounted next to the rows of seats remains a mystery, but to judge by the sensual mindbang that made up the show it is to be hoped that is was some kind of sedative to still the beating of tharn hearts.

Whether we were supposed to be watching an experiment in progress or a documentary about the experiments is up in the air. The dancers, led in their choreography by the exceptional and possibly mad Rebecca French, guided the audience through the nightmare of their initial exposure, through their development into human weapon, into the horror of becoming living machines, a dissident’s sudden execution, and finally leaving us as exhausted as they when the chemical rollercoaster came to an end.

Photo by Jef With One F

In addition to the stellar performances by the dancers, the audience is shown helpful videos on the theatre’s back wall. The industrial texture of the surface itself made the presentations seem to be seen through a drugged haze, and the information coming to the audience was not conducive to relaxation, no matter what the giant talking artichoke may have said. One interview shown was with a composer for Sesame Street who talked about how he had written a song about mountains. A poll done previous to the airing of the episode showed that 46% of those polled knew what a mountain was prior to the episode, but after hearing the silly song only 20% knew what a mountain was. He offered this mindsucking potential to the CIA. Another interviewee described life as a programmed sex slave used by Ronald Reagan.

Projection was used as an impressive art form. During a solo dance sequence illustrating the increased fighting abilities of a subject, the backdrop became a collage of title screens from classic arcade fighters (we were happy to recognize Samurai Showdown). But by far the most innovative use of projection was for an original number danced entirely beneath a drape. As the bodies beneath it writhed and mounted, they were splashed with computer generated matrices and spiders, until they each emerged one by one from the wall of mind-control imposed by their tormentors.

The experience is not one for the faint of heart, and is at times horrifying, terrifying, and other –yings, but if you truly wish to delve into the darkness at the center of a world at war, and just what we are willing to do to ourselves to combat an outside threat, then buying a seat for MKULTRA is the next best thing to signing up yourself for whatever the project may or may not be called by the present government.

MK ULTRA continues June 10-12 and 18-19. $16 advance, $20 door. Frenetic Theater.