Director and NYTW Usual Suspect Jess Chayes keeps things moving, and the confusion is probably due to a script that could perhaps do with another draft. K is the only one with a real backstory, and when the dead Tittorelli is suddenly alive it's not clear why or how. And while it's fun conceptually to end with an all-unplugged number, it somewhat undercuts the electronica of the last two hours. Where Havel, Kafka and Melville comment on the strangeness of modern life, Beckley and Weida are too often hung up on trying to create a vibe. That said, it's interesting to see a show so committed to using electronic music and the producers are to be commended for showcasing young talent (the cast is about half Equity and are all solid in their roles).
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“...the Assembly Theater’s production of ‘In Corpo,’ though flawed, burnishes the old message that life in the corporate world, with its technological seductions and limiting of self-expression, is a slippery slope.”
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“Two hours of this becomes tiresome, especially since ’In Corpo’ lacks the kind of depth that might make those two hours worth sitting through.” 
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