By FELICIA R. LEE
With the attitude-laden title of “Once and for All We’re Gonna Tell You Who We Are So Shut Up and Listen,” a theatrical piece about teenagers that recently had its New York premiere , a little history is in order.
Let us go back almost three years to a lazy Sunday in the small Belgian city of Ghent. Some exuberant young actors would not sit in their chairs and be still while participating in a project conducted by Alexander Devriendt, the artistic director of the Ontroerend Goed performance group.
As the actors did their thing - hitting one another, gossiping, tipping over in their chairs - Mr. Devriendt realized that the play he was seeking about the energy, rebelliousness and possibilities of youth was right there in the behavior and attitudes of the young people just being themselves.
“In other productions, when youngsters were put onstage, I never saw that brutal energy,” Mr. Devriendt said .
“Once” has collected glowing reviews for its spontaneity and energy as it has toured throughout much of Europe - Italy, Britain, Ireland and Portugal - as well as Australia.
“Once” features 13 young actors onstage with an array of props . The only constants are the 13 mismatched chairs in which they sit. Sometimes. Mostly in their actions and in a handful of monologues and dialogue, they convey their feelings about the teenage years, when you do not exactly know who you are but do not want to be your parents.
If it seems natural, it is because the actors play themselves. Mr. Devriendt imposed structure , but what’s onstage sprang from the actors , who mostly range in age from 14 to 19.
One of them, Charlotte De Bruyne, recalled how the young actors wanted to be cool for Mr. Devriendt but also just wanted to be themselves.
“We don’t want a definition of teenagers,” said Ms. De Bruyne, a 19-yearold who studies drama in Ghent. “I have the feeling that the definition of teenager is just not possible. People forget that it’s also about individuals.”
The young actors in ‘‘Once’’ play themselves with a variety of improbable props. / CHAD BATKA FOR THE NEW YORK TIMES
