The Ford/Hill Project and Pre-Existing Condition can be interpreted as companion pieces.

An incomplete rolodex of their overlaps:

They concern men physically abusing women, ultimately questioning the efficacy of societal systems and their languages to respond effectively. What were the ramifications on the guys, besides the existence of records like Ford/Hill and Pre-Existing Condition? Their sub 90-minute brevity creates a lack that’s of a piece with the paucity of resolutions for what’s depicted. 

Their recent New York stagings have a fluidity to their corporeal embodiment; the ensembles play multiple roles, often against their identifying features, without clarification. The answer to, “Who are they right now?” remains hazy. 

Finally, they throw a wrench between the text and how it’s performed. Ford/Hill is verbatim theater; the quartet listen to the archival recordings through headphones, speaking exactly what they hear without memorized line-deliveries. Pre-Existing Condition alternates the lead role, separating the actor’s relationship to the material from the rest of the cast.