About the objects of their obsessions

Obsession, whether romantic or career, dominates “Idle Worship.” This bravely deployed Theatre of NOTE double bill presents Dennis Miles’ “Free Fanjul” and Chris Danowski’s “Brandohead.”

The title character of “Free Fanjul” is a convicted murderer, first seen projected upstage above designer Erin Brewster’s platform set as antihero Ansel Blochat rhapsodizes about this dream lover. Author Miles writes his dark death-wish comedy for both male and female casts, which alternate weekends under the direction of Kiff Scholl.

At the reviewed performance, it was the men. Dan Wingard makes an eerie Ansel, who approximates his fantasies with Claus, a dead ringer for Fanjul, and Donald Agnelli rocks as both characters. In context, sensitive Scott McKinley is almost too realistic as Ellis, the worshipful bad poet whom Ansel manipulates.

Though the gender switch gambit obviously may reveal different layers, “Free Fanjul” is intriguing yet inconclusive, its stakes more cerebral and the ironic ending less potent than the post-Mark Ravenhill intensity deserves.

The epically opaque “Brandohead” is one for the surrealist books. Merging scabrous absurdity, Mayan myth, industry satire and a giant cranium of the ultimate Method actor, what author Danowski, director Dara Weinberg and the designers compose defies comprehension.

As the central struggling actors, Terry Tocantins and Michelle Hilyard are certainly uninhibited. Gabby Sanalitro’s John Waters-pitched Japanese expert and the slimy agent (understudy Camden Toy, covering for Christopher Nieman) define outlandish. As voiced by Steven Biggs (in for Phillip C. Curry), the great big head primarily suggests Don Rickles on steroids. Robert Wilson was never like this.

“Idle Worship: Free Fanjul & Brandohead,” Theatre of NOTE, 1517 N. Cahuenga Blvd., Hollywood. 8 p.m. Thursdays through Saturdays. Ends May 27. Adult audiences. $15 and $20. (323) 856-8611 or www.theatreofnote.com. Running time: 2 hours, 15 minutes.