TWO_POINT_OH now playing at 59E59 theaters is a fascinating
new play. It is based on a futuristic
premise, but addresses the current problem people have trying to connect with each other. Science Fiction is one of the hardest genres
to do well in the theater, but TWO_POINT_OH handles it beautifully. Much of the credit has to go to the cast and
creative crew that bring a future both immediate and believable.
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| Jack Noseworthy (on screen) and Karron Graves in TWO POINT OH at 59E59 Theaters. Photo by Jimmi Kilduff |
The story follows software billionaire, Elliot Leeds, and
what happens after he dies. His plane
goes down, but Elliot has left a unique software program behind. He has left a virtual reality version of
himself embedded in the computer, to interact with his wife Melanie. In a super wired mansion (ala Bill Gates’
home), this Elliot 2.0 can appear on-screen, tracking his wife’s words,
movements and physical changes. Always
pre-occupied when alive, Elliot 2.0 has time to be the (almost) perfect
husband.
Jack Noseworthy does an outstanding job, bringing this
Elliot to life, solely via big screen. The
program’s “humanity” develops at a believable pace, transition as the program
learns. It is a rather thankless role,
playing a computer simulation, but Mr. Noseworthy does it excellently. Elliot 2.0 comes to understand his
shortcomings as a husband and tries to correct them. He also appears to his old partner, Ben
Robbins.
James Ludwig plays Ben and shows us fully rounded individual. Ben is neither all saint nor all sinner. Ben
was Elliot’s computer geniuses partner at the founding of the company, and he
refuses to interact with Elliot 2.0 as anything other than a complex
program. Albeit a program that is both
pushy and needy.
Karron Graves has a much more difficult time with the role
of Melanie Leeds, the widow first, and then manipulated wife. Ms. Groves does an excellent job with grief,
too excellent. The character of Melanie
runs the full gamut of emotions, from love to annoyance to despair to
incredulity. And while Ms. Graves pulls
each off wonderfully, the swings do pull the tone of TWO_POINT_OH abruptly.
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| L-R: James Ludwig and Antoinette LaVecchia in TWO POINT OH at 59E59 Theaters. Photo by Jimmi Kilduff |
Both Antoinette LaVecchia, as the new company’s CEO, and
Michael Sean McGuinness, as a sensationalist newscaster, provide some great laughs
in a believable way. Ms. LaVecchia in
particular grabs hold of her role and plays it as wildly as possible, without
going over the top.
As version 2.0, Elliot can finally see how technology, now
making his “life” possible, interfered with his physical marriage before his
death. For us, there is no second
chance, and the moral of the story is that delaying your real life for the
vibrating phone or the immediate facebook post is rarely a good trade. TWO_POINT_OH makes the point subtly, but
elegantly.
David Bengali does a great job with the media/projection
design, leaving the audience to question what was done live and what was pre-filmed. Credit also goes to Mr. Noseworthy here; some
in the audience wondered if he was actually performing (and were pleasantly
relieved at the curtain call). Done
poorly, this design could have sabotaged the show, but Mr. Bengali does a stand
out job of using the technology without letting it overwhelming the show.
TWO_POINT_OH’s tough stretch is rather early in the first
half when Melanie has a breakdown over her husband’s death and then deals with
his “return”. Once we are past that
writer Jeffrey Jackson and director Michael Unger can let the piece open up and
take flight.
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TWO_POINT_OH
Playwright: Jeffrey Jackson
Director: Michael Unger
Cast: Jack Noseworhty, Karron Graves, James Ludwig,
Antoinette LaVecchia, Micahel Sean McGuinness
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