A Rossum’s Universal Robots Reboot

R.U.R.

In 1920, Czech writer, journalist, critic and playwright Karel Capek wrote a play that would become the forerunner of so many modern-day film classics, such as “Metropolis,” “Star Wars,” “2001: A Space Odyssey,” “The Terminator” and the animated movie, “Wall-E.” In imagining a future where robots become the world’s workers, Capek’s play warned of both the wonders and dangers of creating humanoid machines powered by artificial intelligence. His R.U.R., which stands for Rossum’s Universal Robots, was a dark, three-act science fiction melodrama that introduced the word “Robot” into the English language. The word was derived from “robota,” a Czech word meaning “forced labor.” Set in a dystopian future, Karel Capek was telling audiences to beware of letting science and technology get out of hand.

Capek’s original play really belongs to another era. It’s long, didactic and over-the-top. Critic Eric Bentley called the melodrama “a museum piece.” He likened it to the genre of other expressionistic plays of that era, such as Elmer Rice’s THE ADDING MACHINE. He maintained that Capek’s lengthy play was about the threat of dehumanizing technology. Consequently, most 21st century theatergoers have probably never seen a production of R.U.R. But with City Lit’s latest offering, that’s about to change. 

Playwright Bo List has written a new, “freely adapted” version of Capek’s script, in which he’s added a bit of contemporary perspective. Mr. List acknowledges that AI is now a reality and can be found almost everywhere. At just over two hours, List has created a play that’s far more compact. The story moves faster and some of the characters have been combined and their names changed. But the biggest difference is that the play is funny. The broad, 1920’s acting style that Executive Artistic Director Brian Pastor employs, serves to accentuate the comedy and makes this production much more entertaining, far more accessible and highly camp.

The basic plot remains the same. The production seems to be set during the 1930’s in the showroom of Rossum’s Universal Robots. The plot revolves around a chain reaction that stems from a visit by do-gooder Helena Glory. The attractive Miss Glory, who heads the Humanity League, is the daughter of the nation’s President. Her mission is to make sure that all robots are being treated humanely. She’s accompanied by her Nana, who admits to being frightened of the robots but is charmed by Alquist, the Clerk of the Works. Helena meets and is wooed by Harry Rossum, whose father was the original inventor of the humanlike robots. A mutual attraction develops and they soon marry and leave on a honeymoon vacation. When they return, however, the couple discovers some startling changes in the robots. Due to Helena’s earlier interaction with a robot named Sulla, the androids have evolved and an uprising is taking place.

Brian Pastor has Directed his production as an homage to all those screwball b&w comedies from the 30’s. He has perfectly paced the play, moving swiftly between each plot point. He’s guided the characterizations of the human beings to be appropriately broad, almost bordering on farce. In contrast, the robots are stoic and reserved. They’re the characters who come across as more civilized. This dissimilarity between the two classes says a lot about the absurdity of the human race. 

Helena Glory is nicely played by lovely Madelyn Loehr. Last seen at City Lit in PLAYBOY OF THE WESTERN WORLD, Ms. Loehr shares the beating heart of this story with City Lit newcomer, Alex George, as Sulla. It’s the connection between these two characters that fuels the play’s ultimate conflict. George is especially commanding and excellent as an android, and I look forward to seeing their performances in future productions.

Bryan Breau, as Harry Rossum, and Brian Parry, playing Alquin,  return to City Lit from after their performances in THE HOUSE OF IDEAS. Both actors do a fine job in their respective roles, with Breau playing the more showy part and Parry ending up as the hero of the story. Excellent portrayals of the robots are turned in by Brendan Hutt, as Marius, Sean William Kelly, as Radius and Claudia Sevilla, as Tibia. Shawna Tucker, seen last season in NIGHT OF THE HUNTER, is properly proper as Nana; and Mary Ross, as Rossum’s stepmother and the Head of R.U.R.’s Physiological Department, is particularly hammy and histrionic in her role.

Scenic Designer Jeremiah Barr has created a large, attractive futuristic Setting for the play, complete with a practical flaming garbage chute and windows that sometimes reveal impending danger. Liz Cooper’s flashing Lighting Design add a space age touch to the setting and Beth Laske-Miller’s Costumes are a special treat, particularly those designed for the robots. Jonathan Guillen’s Sound and Musical Compositions also add much to this production.

This World Premiere of Bo List’s new adaptation of R.U.R. is a robust reboot. The result is much more entertaining and far more digestible than the original play. Director Brian Pastor has especially played up the comic element by guiding the actors who play human beings to be over-the-top, to go big or go home. In contrast, Pastor wisely tamps down the portrayal of the robots so that they actually come across as more humane and, thus, more appealing to the theatergoer. City Lit has once again put the polish on an old chestnut of a story that shouldn’t be lost to the past.                

Highly Recommended

Reviewed by Colin Douglas

Presented May 2-June 13 by City Lit Theater, inside the Edgewater Presbyterian Church at 1020 W. Bryn Mawr Ave., Chicago.

Tickets are available in person at the box office, by calling 773-293-3682, or by going to www.citylit.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.