Because a Daisey party always ventures into crosscurrents, this one — destined as is prevalent by his wife, Jean-Michele Gregory — takes us on a transcontinental sail, tacking behind to theme-park-y Orlando after visits to Daisey’s other end points for a occasion: a Burning Man art festival in Nevada’s Black Rock Desert, and Occupy Wall Street’s earlier outpost in Lower Manhattan’s Zuccotti Park.

The linkage Daisey establishes — in a idea of a several ways in that Americans accumulate to revelry in, reinvent or conflict a nation’s widespread culture, of a house — is many convincing when a prism he uses is his possess suffering. This occurs in a dusty, breathless area of Burning Man, where he sees soaring pieces of mobile art and hears couples carrying sex in adjacent tents. And also in a rough made enchantments of Disney World, where in a arise of a cousin on a Snow White high he endures a unendurable: 5 “Character Breakfasts.”

Less persuasively integrated are his musings on Occupy Wall Street, presumably since his viewpoint on a transformation is shaped during a distance. He seems not to have spent a night himself in Zuccotti Park. In perspective of his alive and extravagantly humorous accounts of his immersive practice on a Nevada playa and on a Florida concrete, a passages of this two-hour, 15-minute uncover clinging to a Occupiers feel observationally anemic. And a snub he reports that he voiced on a Bloomberg radio talk show, on a day Mayor Michael R. Bloomberg systematic military to transparent a squatters, distracts rather than illuminates. It comes opposite as self-serving.

You will no doubt remember that Daisey’s final revisit to Woolly in Jul was slathered in a plod of controversy. Forced to acknowledge that portions of his glorious “The Agony and a Ecstasy of Steve Jobs” were not a heartless events that he claimed to have witnessed, Daisey was subjected to condemnation by reporters and other theatergoers. They felt hoodwinked and hurt by a repairs to a credit of charges Daisey bright in “Steve Jobs,” that Chinese workers are treated horribly in factories creation Apple iPhones and iPads.

The malediction over Daisey continues on amicable media, where, nonetheless he’s apologized regularly for his familiarity with a contribution in “Steve Jobs,” he stays a tough and observant censor of a practices of a news media. we try to stay insane during him — my early reviews of “Steve Jobs” heralded it as some of a best museum I’d seen that year. But we can’t. Talent, we guess, will out. I’m drawn, as we accumulate many others still are, to a multiple of ego, intelligence, elegant ability and severe self-examination that spills out from behind a wooden table that has turn his pulpit.

A few shockingly melodramatic inclination are used in “American Utopias.” Well, intolerable for Daisey, whose sum sum of transformation in prior shows concerned plopping himself core stage, branch a sheets of paper that enclose his notes, and dabbing persperate from his brow. This time, projections have been combined and — dear Lord! — a bona-fide, three-dimensional column creates an entrance. (To learn of a even some-more thespian depart in this production, you’ll have to buy a ticket.)

It’s as if Daisey were responding those who competence not consider of a man simply nattering on for a integrate of hours as “theater.” He is right to desire to differ. What fills a gymnasium is Daisey’s ardent persona and pinpoint insights — opening art for certain — and a delight that ensues. A crank, it turns out, is a ideal interpreter for those defence to theme-park charms. As if he were a tip anthropologist, he tags along behind his eager cousin and other family members, sampling pale drinks during an vaunt called “Sodas of a World,” visiting Epcot’s unrepresentative collection of inhabitant pavilions, and study Walt Disney’s unrealized devise for a vast, corporate-controlled city of a future.

He finds humorous contrasts and connectors between Disney World’s manicured confidence and a loony, radical suggestion of a Burning Man city in a desert. And from these, he segues to what he views as a many earnest city of them all, a one that a occupiers interest their explain to, in a secretly owned park Daisey sees as an button of a stranglehold corporate interests say over open spaces, and by extension, a open consciousness.

As he did in “The Last Cargo Cult,” a solo uncover about a tellurian ceremony of income that he brought to Woolly in 2010, Daisey creates of “American Utopias” a travelogue that wittily locates what’s bizarre in a familiar, and what’s tangible about a exotic. Any debate of locales nearby or distant he decides to lead, pointer me up.

American Utopias

created and achieved by Mike Daisey. Directed by Jean-Michele Gregory. Set and lighting, Klyph Stanford; dramaturg, Miriam Weisfeld. About 2 hours 15 minutes. Through Apr 21 during Woolly Mammoth Theatre, 641 D St. NW.

Visit www.woollymammoth.net

or call 202-393-3939.