‘R.U.R. [Rossum’s Universal Robots]’ @ Lakeside Community Theatre
Photos courtesy of Lakesside Community Theatre
—Carol M. Rice
R.U.R., written by Czech playwright Karel Čapek, was first produced in January of 1921 and is credited for introducing the word “robot” to the English language, and to science fiction overall. At Lakeside Community Theatre, Dale Moon has adapted and directed a new version of the play, which (with the rapid proliferation of AI) is still extremely timely more than 100 years later.
Helena Glory, the president’s daughter, has come to visit the island factory of Rossum’s Universal Robots. She wants to find out more about them and ultimately set them free. Harry Domin and the scientists and doctors who work at R.U.R. give her the history of their creations, and attempt to explain to her that robots are essentially appliances with no feelings or desires—despite being made from organic matter, but Helena remains skeptical.
Even 10 years later (we find out she has married Harry in the interim), Helena is still convinced that the robots can be made to have souls. Dr. Gall admits to having tampered with the formula for some of the more recent robot models, including one she has named Helena. These changes, though, could lead to disastrous repercussions in the future.
Moon’s adaptation of R.U.R. makes his love for the piece clear, as the story and characters are strong. I will say that my companions and I were somewhat confused about the time period (nothing was listed in the program), especially when most characters didn’t change costumes at all as time passed. The play seems to be set in roughly the 1930s-40s, and Moon’s direction gives the piece the feel of black-and-white melodrama films of that period.
Rachel Valsco’s set design, especially of the R.U.R. office, is stunning. The stylized R.U.R. company logo is appropriately worked into the set at every opportunity, and the “dissection room” looms just through the windows as a constant sign that things aren’t quite what they seem. While the set changes were far too long between scenes, the conversion of the office to the Domin’s living room made for a fine contrast of locations.
Kristin Moore’s excellent costumes also beautifully work in the stylized R.U.R. logo, giving the robots a military feel even from the beginning, and Sara Parisa’s costumes as Helena were especially exquisite. Everything is well lit by Caleb Ross’s often subtle lighting design, and sound designer Lindy Englander’s droning tones lend an uncomfortably eerie feel to the events unfolding onstage.
The robots come in all shapes, sexes, and sizes, which is explained by the fact that they are programmed for different jobs. The actors playing them wear pale makeup to make their expressionless faces seem even more de-humanized. Standouts include Bailey Lund as Sulla, Aaron J. Schultz as Radius, and Zeke Fayble as Marius. I would have liked to see more of Lund’s Sulla.
The humans are primarily controlled by Domin, played with melodramatic intensity by David J. Wallis. I say he controls the humans (as well as the robots) because he’s the guy in charge and they all unquestioningly do what he asks. Wallis is a strong onstage presence and has a good feel for this role.
As Helena, Parisa depicts a variety of emotions: from polite yet indignant when she first arrives at R.U.R. to more comfortable (yet still frightened) by what she believes is coming later. Then as the robot Helena, she is a completely different being altogether who is cautiously in love with Primus. While at times I had to struggle to hear her when she was on the opposite side of the stage, she brings a lovely humanity to her characters that’s missing from everyone else.
Bethany Brown and Sunnie Saenz play Dr. Gall and Dr. Hallmeier with authority and appropriate condescension towards those who aren’t as brilliant as they are. Omar Valdez Rocha and Bart Cowser bring strong businessman vibes to Fabry and Busman, and Paul Niles as Alquist acts as the voice of reason (not that it does him any good since no one listens to him).
Jojee Alvarez Allgood has some nice moments with Helena as Nana (although it’s unclear what her role in the household actually is). Ryan Lee makes the most of his small role as the robot Primus.
R.U.R. is a cautionary tale, much like Jurassic Park and Frankenstein: just because you can do something doesn’t mean you should. Lakeside Community Theatre’s production will definitely make you think, but don’t think you won’t also be entertained.
WHEN: April 18-May 3, 2024
WHERE: 6303 Main Street, The Colony, TX
WEB: lctthecolony.com
