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Campo Maldito by Adam Brinklow EDGE Media Network Contributor Sunday Jul 31, 2016 PRINT

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"Campo Maldito" at the EXIT Theatre opens with one of the leads waking in his o ce, sporting a hangover and a bullet hole through his laptop. Admit it, we've all started a Saturday this way. In this sincerely odd but fascinating two-man show by Bennett Fisher, Ken Ingersoll (Walker Hare) is a Tenderloin techie with a suite of problems. His micro-loan site is supposed to help people in the neighborhood cash in on the tech boom. But he's living in a building where hundreds were just evicted, so who is he really helping?

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Good intentions and casual racism aren't a great business plan, but Ken has even bigger problems. The building is probably haunted, and it seems to be driving him insane. In desperation, he calls Hieronymo, a Santeria priest (Luis Vega in a very, very still performance) to see what can be done.

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Hieronymo is a neighborhood local, Patrick Willis Niners jersey and all. Despite his assured and laser-focused demeanor, he has some problems of his own. As you can probably guess, it's not long before the exorcism goes horribly awry... but spoiling any more would do an injustice to the show.

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"Campo Maldito" (our Spanish is notoriously bad, but the title translates roughly to "damned place") previously played at SF Fringe, and the EXIT is maybe the only venue that truly suits it. Almost no set dressing is needed; the bare, beautiful brick walls of the actual building provide the perfect backdrop. That sense of bareness becomes a great asset overall. Take the way the actors get their asses kicked; we don't know how these two guys are going to survive all 12 performances. They op, they wrestle, they struggle over knives and blunt objects. At one point, Vega gets hits with a keyboard, and keys legitimately go ying. We really hope that doesn't hurt as much as it looks. But in any case, "Campo's" secret seems to be ingeniously simple: If you want it to look real, make it as real as you can.

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So the lighting is dim and unhealthy. The tricks with shadows and sounds are straightforward but creepy. And the con ict is very real too. In that it's really happening, on the very blocks around this theater. The gentri cation story is a bit more nuanced than you might expect from the plot. The Tenderloin of "Campo" is a place of culture, integrity and humanity, but also of poverty, abuse and death. The encroaching world of tech is presumptuous and damaging, but also in need of compassion. And that's important in a show that could be silly -- at one point the characters are left wondering if the co eemaker is possessed -- but is in fact deeply serious, and seriously a ecting. We can't talk about a lot of what makes "Campo" good (particularly when it comes to Hare) without giving too much away. So for some bits you'll just have to trust us. Which, yes, is annoying, but them's the breaks. Two problems keep "Campo" from being truly great. One, when we do hear from the ghost, the dialogue trends toward a TV Supervillain vibe. Two, the con ict shortly begins to feel intractable, since there aren't many ways to directly counter a stubborn specter, and this leads to a sense of paralysis. But it's a tight show, so there's not much time for things to bother you. And it's packed with tension, surprise and gravity that never feels ponderous or preachy. Not to mention just how much skin these two guys are

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leaving on the stage, a commitment worth saluting all on its own. Check it out.

week because of an unfortunate stain on his sweat pants.

"Campo Maldito" plays through August 13 at the EXIT Theatre, 156 Eddy Street in San Francisco. For tickets and information, call 717-979-7122 or visit www.theexit.org/campo.

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