Theater: “The Antiquities” at Playwright’s Horizons
How did we become human? Did we start as fish, then emerge from the depths to become apes, and eventually learn to speak and socialize as men and woman? If so, what’s the next step in our evolution?
These are among the thoughts that crossed the mind of playwright Jordan Harrison, who’s written “The Antiquities,” a provocative, funny—and cryptic—play now in previews at Playwrights Horizons.
“Antiquities” opens with two women (Kristin Sieh and Amelia Workman) who address the audience somewhat stiffly, while clad in early 19th-century garb. Who are they? Actually, more like what: they’re AI (Artificial Intelligence)-generated curators at the Museum of Late Human Antiquities (circa 2240). The museum specializes in exhibits about a species that has ceased to exist: human beings.
The play then hopscotches back and forth (non-sequentially) over a 400-year period to show how technology has made humans extraneous. We start in 1816, when Mary Shelley (played by Sieh) regales her friends with the story of “Frankenstein,” a creation that eventually subdues its creator, Doctor Victor Frankenstein. Fast forward 100 years to when a small child (Julius Rinzel) loses his finger in an industrial accident and it’s replaced by an artificial digit.
Among other things, we’re introduced to the first desktop PC (early 1990s). People also start using online blogs to communicate, followed by smart phones. Then SIRI is born. In the near future, we see people requesting AI implants.
At first, this may alarm those of us who are more OG than AI, as the short vignettes that illustrate these advances show technology gradually forcing humans into extinction. But some of the vignettes are funny and even moving. A kid (Rinzel) won’t tell his dad (Aria Shahgasemi) that he’s mad at his best friend; but SIRI does. A woman (Layan Elwazani), still distraught over her grandfather’s death, calls his cellphone and leaves a VM for him every day. And so forth.
“The Antiquities” in its more wistful, intimate moments reminded me of “Our Town.” Which makes sense as the play’s director is David Cromer, who directed and acted in the memorable 2009 production of Thornton Wilder’s play.
This is not the easiest play to understand from one viewing. I may see it again, if I’m lucky enough to get hold of another ticket before that fast New York theater crowd does. After all, if AI is where we’re headed, I’d like to be at the front of the line.
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