Ask yourself, "How can you possibly make a chainsaw lobotomy boring?"
First, you have to sit through all of "Axe Lizzie," which is, despite fabulous Victorian bustles, a striking set and blood that glows under black light, very dull. The director's note describes Axe Lizzie as "a hallucinogenic nightmare play." This fails to take into account how tedious other people's dreams can be, especially when archetype becomes stereotype and most of what you see is an insipid and incoherent pretty girl writhing about the floor in menstrual agonies, reciting glassy-eyed stream-of-consciousness about the Devil and Wizard of Oz characters into an echo-effect karaoke microphone. By the time Lizzie Borden chops up her parents, the only enthusiasm you can summon is, "At last."
One cool thing about "Axe Lizzie" is the Emma puppet. Cock and Bull Theatre styles itself after the Grand Guignol Theatre of Paris, "Grand Guignol" meaning "Big Puppet." Sarah Bendix's puppet creation is certainly that: grotesque and pitiable, an elephantine infant in black crepe.
The second play of the night, "The Possession of Alice Von Truskin," has a slightly more promising beginning: Alice (played by Tuckie White, whose wily deadpan and sharp comedic timing make her very fun to watch), dressed in a curly blonde wig and a white lace dress, masturbates herself incessantly, while her mother wails and the doctor tries to "cure" her. These cures culminate in the aforementioned lobotomy, which would make a fantastic finale, with blood spatter everywhere and the audience gagging on their sighs of relief. It is followed, however, by an interminable parade of the kind of men who would marry a lobotomized girl in a baby stroller.
In all, these plays were dreck, but with a clever design team and some neat effects.