What It Means to Be Human

Sisters

Much like this Theatre’s recent production of  LEOPOLDSTADT, Writers’ production of SISTERS is also an epic drama. Both plays span several decades, but Matthew Libby’s 90-minute one-act focuses on only two characters, whereas Tom Stoppard’s drama featured an extended family. However, like LEOPOLDSTADT, SISTERS also explores what it means to be human and the power and limitations of memory. 

Told over the span of ninety years, this is the story of two sisters. We meet Matilda when she’s only six years old and alone, just after the death of her mother. Matilda is an only child, so her father creates a sister for his young daughter on his computer. He’s often away on business and this artificial intelligence sibling will tutor his daughter and keep company. At the top of the play, Greta introduces herself to a confused little Matilda and explains that she’s her sister and will always be there for her. 

Greta and Matilda grow up together, each learning from the other. Matthew Libby’s comic drama, however, doesn’t unfold sequentially. It bounces around in time, from childhood to adulthood, then back to Matilda’s teen years, then on to middle age and, as the play nears its conclusion, to Matilda’s senior years. Greta is like an advanced version of Siri or Alexa, an artificial intelligence-generated personal assistant. But Greta is much more like an actual, living person. Both characters find themselves learning from each other. They discover themselves dealing with happiness and disappointment, success and loss. The two sisters soon become very close and dependent upon each other. At one point Matilda and Greta disagree with each other and fight furiously, ultimately drifting apart. Then, as the years pass, the two find themselves together again. Just like real sisters. 

Making her Writers Theatre debut, Brenda Barrie (MIDDLETOWN, Steppenwolf; ELIZABETH REX, Chicago Shakespeare Theatre) gives a simply extraordinary performance as Matilda. Without special effects, costume or makeup changes, Ms. Barrie takes us on a journey through the years and long life of an ordinary woman, from age six to ninety-six. This tour-de-force performance is so incredible that theatergoers will be amazed. Her subtle gestures and facial expressions, the slight differences in Brenda’s vocal quality, all contribute to the way we see Matilda age, before our very eyes.

An equally unbelievable performance is given by Chloe Johnston as Greta. She achieves her magically realistic performance using only her voice. Although Ms. Johnston never physically appears on stage, she’s a strong and vital presence throughout the play. It’s a revelation to finally see the actress during her well-earned curtain call. Ms. Johnston sounds so much like Alexa or Siri. She sometimes mimics the inflections in Matilda’s voice and then matches her sister’s emotions, enthusiasm and disappointments. 

Beautifully and empathetically guided by veteran director Jessica Thebus, this production seems deceptively simple, but is actually deeply layered emotionally. The production’s technical magic includes an appropriately sparse scenic design by A Inn Doo, lighted with emotional nuance by Eric Watkins. The production also requires a unique sound sound design, co-designed by Harper Justus and Andre Pluess, and incorporates an array of powerful projections that help us to visualize Matilda at various ages, all designed by Stephan Mazurek and Liz Sung. Lia Wallfish’s simple costume for Matilda is generic and serves the character well throughout her long life.

SISTERS is a moving and powerful theatrical experience. Matthew Libby’s science fiction inspired one-act looks at life, with all its highs and lows, joys and sorrows, successes and challenges. The play probes current experiences and long-ago memories. As we listen to Greta, the unseen voice of reason in the dark, we may even develop a new understanding of artificial intelligence. Perhaps SISTERS can inspire us to imagine what AI may become in the future. At one point in the play, Greta expresses a desire to have a body—to become human. Then, at other times, Matilda seems to want to be more like her sister—a computer with unlimited knowledge. Matthew Libby’s deceptively simply drama is layered and laced with unexpected comedy and moving drama. And in the end the playwright asks the audience to consider exactly what it means to be human.   

Highly Recommended

Reviewed by Colin Douglas

Presented August 13-November 8 by Writers Theatre, 325 Tudor Court, Glencoe, Illinois.

Tickets are available in person at the box office, by calling 847-242-6000 or by going to www.writerstheatre.org.

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

Photos by Hugo Hentoff