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Showing posts with label Mac Rogers. Show all posts
Showing posts with label Mac Rogers. Show all posts

Tuesday, June 07, 2016

Universal Robots

Stephen Hawking: The real risk with AI isn’t malice but competence. A superintelligent AI will be extremely good at accomplishing its goals, and if those goals aren’t aligned with ours, we’re in trouble.
According to an interview in the New York Times, the exceptional playwright Mac Rogers would seem to disagree with Stephen Hawking. He says, “If you know how long it takes to get a robot to cross a room, the last thing you’re scared of is that they’re going to turn against you.”

Cheek, Howard
Photo: Deborah Alexander

And it's true that today's robots seem unlikely to rule the world; robotic salamanders and vacuum cleaners just aren't the stuff of nightmares. Yet in the wonderful Universal Robots, Rogers shows us how we could end up in the world of Stephen Hawking's fears (and Bill Gates's and Elon Musk's). How? Tiny innocent step by tiny innocent step.

Tuesday, October 20, 2015

Honeycomb Trilogy: Advance Man, Blast Radius, Sovereign

On one hand, Mac Rogers' Honeycomb Trilogy is a highly entertaining sci-fi epic, covering over 20 years and an extraterrestrial invasion or two. It has everything you could ask for: a fascinating alien race, a believable version of earth, characters with strong desires and stronger personalities, danger, and suspense. It's also funnier than many comedies I've seen. On the other hand, Honeycomb Trilogy is a smart and thoughtful examination of family, free will, the power and powerlessness of love, the arrogance of people who decide to change the world, the importance of that arrogance, and many other important and thought-provoking topics. In its own way, it's a masterpiece. What Mac Rogers has done is extraordinary: he has nested philosophy in frivolity and the result kicks ass.

Advance Man 
Sean Williams, Kristen Vaughan
Photo: Deborah Alexander
The current Gideon production at the Gym at Judson Church is splendid. Jordana Williams directs masterfully, succeeding on the macro and micro levels and everything in between. Her attention to detail is lovely, and her ability to keep the machinery of the trilogy (6 acts; 29 performers; 3 sets) moving is impressive. Kudos as well to her assistant directors (Audrey Marshall, Mikell Kober, Sara Thigpen) and stage managers (Victoria Barclay, Nikki Castle, Devan Hibbard). If "it takes a village" for most shows, this one took a small city, I'm sure.

And, oh, that cast. Brilliant performance after brilliant performance after brilliant performance. Each actor inhabits his or her role fully; even the smallest role becomes a rich presence, a person you know incredibly well. A lot of this is in Rogers' writing, of course, but the actors, guided by Williams, bring his world vividly alive. Becky Byers and Hanna Cheek play Ronnie at different times of her life; both are fierce, funny, and frightening as a small and difficult woman who becomes a great leader by sheer personality and conviction. David Rosenblatt and Stephen Heskett play Abbie at different times of his life; together they skillfully show us how a shy and sweet boy can turn into a dangerous man. Kristen Vaughan plays Amelia, Ronnie and Abbie's mother, who is (to say the least) pushed out of her comfort zone as the rules of society change or disappear; Vaughan is superb, as always. Sean Williams gives a wily performance as Ronnie and Abbie's father, an astronaut and maybe a hero, who may or may not ever be completely sincere. Jason Howard is extraordinary, as always, as the astronaut who returns from space drastically changed. Brian Silliman oozes cheerful sleaze as a venture capitalist thrilled to be in the presence of people who have actually been to Mars. The rest of the amazing cast comprises Rebecca Comtois, Neimah Djourabchi, Shaun Bennet Fauntleroy, Matt Golden, Felicia J. Hudson, Erin Jerozal, Ana Maria Jomolca, Yeauxlanda Kay, Daryl Lathon, Carlos Martin, Joe Mathers, Lori E. Parquet, Amy Lee Pearsall,  Seth Shelden,  Nancy Sirianni, Alisha Spielmann, Adam Swiderski, C.L.Weatherstone, and Cotton Wright. Each contributes significantly.

Saturday, November 29, 2014

Asymmetric

Is all really fair in love and war? Not according to the thriller-comedy-love-story-political-commentary Asymmetric, written by the wonderful Mac Rogers, directed by the also wonderful Jordana Williams, and produced by Group UP and Gideon Productions at 59E59


Sean Williams, Kate Middleton, Seth Shelden
Photo: Deborah Alexander
As political commentary, Asymmetric offers a fascinating and important debate about the idea of "us" versus "them," with one character viewing "us" as the United States, our people, our guys, and the other viewing "us" as the human race, with no "them." I am struck by the fact that Rogers uses a woman character to embrace humanity and turn against drones and killing, despite (because of?) her previous close relationship with human destruction. Rogers is the second playwright this year to have a tough woman fight the idea of raining death down from the sky, and I have the same questions I discussed in that review (Grounded by George Brant):
... I wonder, does Brant believe that women, ... feel sympathy/compassion differently/more than men do? Is [the main character] supposed to be unique or representative? Or both? Would Grounded be the same if it were about a father rather than a mother? Men and women can be so different and yet so similar....