Review: ‘Clara vs. Infinity’ Signals a Bold New Voice in L.A. Theater

At a time when so much of the theatrical landscape leans on familiar titles and recycled intellectual property, Clara vs. Infinity by Zack Rocklin-Waltch arrives as a strikingly original alternative — and a deeply welcome one at that. Eight Ball Theatre’s world premiere at the Zephyr Theatre is not only built on a wholly new concept, but executed with clarity, intention, and a palpable sense of ensemble unity. Under Jamie Gallo’s attentive direction, the production feels both imaginative and grounded, powered by a cast that appears not just well-suited to the material, but fully in sync with its emotional and intellectual demands.

As the title suggests, the play’s protagonist is Clara, a precocious and endearingly neurotic 12-year-old grappling with grief (in the wake of her father’s passing the previous fall), guilt, and an overwhelming need to make sense of the world around her. Living in Boston with her mother, a nurse who regularly works double shifts, Clara impulsively runs away in pursuit of something both concrete and symbolic: a Pi recitation meet at the National Air and Space Museum in Washington, D.C., offering a $10,000 prize. Having memorized 529 digits of Pi — and the precise 359.54 miles to her destination — the young traveler cunningly uses her mom’s credit card to embark on a journey that is as physical as it is psychological, as she confronts trauma-fueled fears of being abnormal or, worse, “evil.” When her bus breaks down in Baltimore, the ticking clock becomes another obstacle in a race shaped as much by internal pressure as external circumstance.

What distinguishes Clara vs. Infinity is how it visualizes that internal landscape. Clara’s thoughts materialize in the form of rational integers — one through nine — who orbit her as both companions and commentators. These numbers are more than a theatrical device; they are her coping mechanism, a way of organizing a world that feels increasingly uncontainable. Through them, the play introduces mathematical concepts — from irrational numbers (including its discoverer Hippasus) to geometric theorems (e.g., Parallel Lines, Nine Points in a Circle) — that are both intellectually engaging and thematically resonant. Infinity, for instance, becomes less an abstract idea and more an existential force, embodied by the irrational and unending nature of Pi, which signifies the vast, unknowable expanse that Clara struggles to accept. Similarly, the delayed appearance of zero within Pi — not arriving until the 32nd decimal point, a fact Clara shares with palpable fascination — becomes emblematic of a void or “abyss” she fixates on, as though she might ultimately disappear into it.

At the center of this intricate framework is Kaylani Gaudart, who impeccably captures all of Clara’s nuanced idiosyncrasies. Importantly, she depicts Clara’s nervous energy and vulnerability without losing sight of her determination. Gaudart allows Clara’s anxieties to coexist with her courage, further humanizing the play even as it ventures into more conceptual territory. Her scenes opposite Nikki McKenzie are especially moving. McKenzie, who portrays both Nine and Clara’s mother, brings a raw sincerity to the role of a parent trying to hold everything together while quietly unraveling. Their dynamic anchors the heart of the production.

The ensemble, drawn in part from a strong pool of USC alumni, operates with impressive cohesion. Each actor toggles between numerical identities and narrative roles with impressive adeptness. Audrey Forman and Seth Gunawardena stand out as Four and Seven, respectively, doubling as a married couple in Baltimore running the Baltimore Motor Inn, whose late-night encounter with Clara blends humor with unexpected tenderness. Matthew Bridges, as “Oh” and Clara’s father, initially registers as an elusive figure before revealing deeper and highly affecting layers, particularly in poignant memory sequences with Clara and a flashback to how he and Clara’s mom initially met over coffee and poetry.

Elsewhere, the play finds moments of levity and theatrical invention. Alex Nimrod and Collette McCurdy, as Three and Two, inject sharp energy into Clara’s detour through the chaotic “Chicken Alley,” while Kameron J. Brown and Nina Romeo draw big laughs in their secondary roles, including a disinterested bus ticket attendant and an eccentric fellow passenger. Quaz Degraft, who inhabits Eight, delivers one of the play’s most memorable moments as the Pi Bee organizer who introduces the event with a rousing speech — offering a stirring reflection on the human impulse to wrestle with God, or the infinite, where conquest is not the goal, but rather the valiant attempt itself. Luke Dimyan makes a memorable impression as One, who enthusiastically heralds the scenes and math lessons that follow.

Gallo’s direction maintains a careful balance between playfulness and discipline, allowing the production’s more abstract elements to land without confusion. The staging makes thoughtful use of space, supported by Kate Schaaf’s scenic design, which employs simple but effective elements like shelving units and wooden furniture to create a flexible environment. Cristo Montañez’s immersive lighting and Konner Syed’s sound design often work in tandem with Julia Moss’s original music, brought to life by the versatile company through handheld instruments (i.e., xylophone, harmonica, drums), adding texture and momentum. MC Macadar’s projection design, including the inventive use of an overhead projector and shadow imagery, further enhances the storytelling, while Olivia Dakin’s contemporary costumes keep the world recognizable.

If there is a minor drawback, it lies in the pacing of some of the mathematical interludes. While consistently engaging and certainly illuminating, these moments occasionally slow the narrative’s forward motion. That said, they also underscore the play’s audacious willingness to challenge and educate its audience without sacrificing emotional accessibility.

Ultimately, Clara vs. Infinity is a bold piece of theater that embraces risk in both form and content. Zack Rocklin-Waltch’s writing is innovative and astutely aware, weaving together themes of sadness, identity, and the human need for order in the face of towering uncertainty. It’s increasingly rare to encounter a new work that feels this distinct in both voice and vision. With the theater scene often characterized by the usual slate of revivals and adaptations, Clara vs. Infinity stands out as a reminder of what original theater can achieve — and why it remains essential.

Cover image caption: Left to right are Collette McCurdy, Nikki McKenzie, Kaylani Gaudart, Luke Dimyan, and Seth Gunawardena in Eight Ball Theatre’s world premiere production of Clara vs. Infinity at the Zephyr Theatre in Los Angeles, CA. Photo is courtesy of Marie Bland.

Eight Ball Theatre’s world premiere production of Clara vs. Infinity runs through Sunday, April 26th. For tickets and further information, visit eightballtheatre.org/events.