Highly Recommended
If robots take over the world what will their relationship be to humans? Will it be a carefree utopia with happy automatons cheerfully laboring away while people enjoy a life of leisure or will the robots develop ideas and aspirations of their own, eventually viewing their human creators as archaic inferior predecessors, in-fact outdated models?
This is the basic concept behind Bo List’s R.U.R. a world premiere production, freely adapted from the play “Rossum’s Universal Robots” by Karel Capek is at City Lit Theatre.
As the play begins it becomes apparent that the use of robots in society to do menial tasks has been employed for some time however for the most part, they are still considered rudimentary.
Harry Rossum (Bryan Breau) the inheritor of Rossum’s Universal Robots, is a kind of ditzy inventor who is preparing to unveil his new generation of totally lifelike robots at an upcoming world exposition.
Rossum has furthered his development on an isolated island with the assistance of his scientist step-mother, Dr. Gall (Mary Ross), and his business advisor and inventory manager, Alquist (Brian Parry).
Helena Glory (Madelyn Loehr) arrives with her Nana (Shawna Tucker) to discuss the fair and humane treatment of robots with Rossum. In short order Rossum and Glory fall for each other and are wed.
The robots include Radius (Sean William Kelly), Tibia and a few other quite similar models (Claudia Sevilla) who cheerfully go about their programmed tasks. However, robots Marius (Brendan Hutt) and Sulla (Alex George) seem to be gaining knowledge from experience and increasing their intelligence.
Without giving away too much it is safe to disclose that the robots eventually revolt and therein lies the conflict to be resolved.
Directed by Brian Pastor, the overall vibe of this production is lighthearted but with a sense of urgency. It uses a compressed timeline and simple dialog much like a comic book or 1950s sci-fi movie. Think Flash Gordon or The Adventures of Superman.
Breau as Rossum, at times out-of-touch and timid, is requisitely “lost in space” playing up his opportunities for broad humor.
The character of Alquist starts out slow but builds interestingly to the end. Parry’s transformation from bit part to pivotal role is notable.
Alex George’s portrayal of Sulla is the standout. Her physical bearing and cold calculating demeanor is the perfect mix of automation infused with possibly the worst aspects of humanity.
I’m unfamiliar with the original source but understand that written at the dawn of WWII it was intended as a cautionary tale regarding social engineering and ideas of inferiority and otherness. Shadows of this message exist in List’s version. It also ultimately asks the question, “What does it mean to be human?”
Sound design by Jonathan Guillen adds sensory depth to the production. The set design by Jeremiah Barr, intended to be the interior of the robotics showroom is simple but outstandingly augmented by three previous models presumably envisioned and/or fabricated by props designer Meghan X. McGrath. Likewise, the ray guns utilized by the robots and the cordless phone were hysterical.
Costuming by Beth Laske-Miller is exceptional and visually “futuristic” by showing great restraint and keeping within the range of the naivety of the play’s overall attitude.
DETAILS: R.U.R. (Rossum’s Universal Robots) world premiere adaptation by Bo List Freely adapted from the play by Karel Čapek is at City Lit Theater, 1020 W. Bryn Mawr Ave., Chicago (second floor of the historic Edgewater Presbyterian Church) through June 15, 2025. Running time is 2 hours with a 10-minute intermission. For tickets and information visit www.citylit.org or phone (773) 293-3682.
Reno Lovison