“Science fiction is here, Jonathan. Every day is science fiction. We buy these things that already know our moods and what we want for lunch even though we don’t know ourselves.” These unsettling, but true words are spoken in Marjorie Prime, a one-act play presented by Ensemble Theatre Company and directed by Shelby Bushell. The play is haunting and clever, and has similar vibes to dark, artsy film festival movies.
Originally performed off-Broadway, the play is written by Jordan Harrison, the writer of Orange is the New Black. Marjorie Prime was a Pulitzer Prize-finalist in 2015 and was later adapted into a film that starred Jon Hamm, debuting at the 2017 Sundance Film Festival. The play takes place in the future, where we meet Marjorie, and 86-year-old woman who lives alone and speaks to a Prime of her late husband Walter, who had died at a young age. A Prime is a hologram of someone who has died, and they look and speak exactly like the deceased, except everything they say is from information that has been taught to them.
One of the advantages of having a Prime is that if someone wants to re-write history for the sake of their own memories, they can simply tell their Prime how they would like the story to go; this includes adjusting stories they’ve already fed to the Prime. So, when the play opens, we see Marjorie recollecting stories about her past with the Prime of her husband – known here as Walter Prime – and adjusting the story about how Walter proposed.
Gai Brown and Carlen Escarraga as Marjorie and Walter Prime. Photo credit: Emily Cooper.
Understandably, Marjorie’s daughter Tess and her husband Jon are skeptical of how healthy Marjorie’s relationship is with Walter Prime. Over the course of the play, we learn there’s a dark family secret that has been weeded out of Walter Prime’s programmed stories. But as is often the case, secrets have a way of creeping back into the picture. It is Tess who says the words, “Science fiction is here, Jonathan. Every day is science fiction…” but little does she realize the extent of how science fiction will impact the lives of her family.
Gai Brown is superb as Marjorie, wonderfully embodying a woman with a troubled past and struggling to hang onto her memories. Carlen Escarraga also does a fine job as Walter Prime, portraying a being that is pleasant and conversational, but not human. At no point did I ever feel his character was a real human - something always felt a bit off and uncomfortable in his mannerisms and speech, which was perfect for the role.
As Marjorie’s daughter and son-in-law Tess and Jon, Bronwen Smith and Tariq Leslie are convincing as the troubled couple. Playwright Harrison has given the pair a whole slew of complicated issues to work through, which helps reinforce the messaging about using artificial intelligence (AI) to subdue or numb stress and emotions.
Bronwen Smith and Tariq Leslie as Tess and Jon. Photo credit: Emily Cooper.
I loved the concept and structure of the show, which is laid out in four distinct sections separated by blackouts. However, I found the pacing a bit slow at times, and it was therefore sometimes difficult for me to keep my focus, especially during a section where Tess and Jon have a lengthy stretch of dialogue.
I also found the way Marjorie is written by Harrison and directed by Bushell, a bit off chronologically. Marjorie mentions she was born in 1977 and Walter proposed to her after they watched My Best Friend’s Wedding, which came out in 1997. She would have been 20-years-old at that time, so that’s plausible.
But the way Marjorie is presented makes it seem like she’s from a few generations earlier than the Gen X-er she is. For example, Marjorie wishes Walter had proposed to her after a showing of Casablanca in an old-fashioned theatre with velvet seats. While that’s a romantic idea, that’s more of a Baby Boomer or even Silent Generation (the generation before Boomers) wish than a Gen X-er.
Marjorie also dresses and speaks like elderly ladies I encountered while I was growing up. But people tend to hang on to manners of speaking, fashion, and music and pop culture tastes from when they were in their prime. So, in this case, I’d expect Marjorie to be all about Sex and the City, wide legged pants (think the fashion trends being brought back by Gen Z), and maybe Britney Spears and The Backstreet Boys. But that’s nowhere near the case here, where we see a woman who seems like she was born in the 1940’s or earlier.
Also inconsistent with the timeline of this story, is the set and costume design. By my calculations (seeing how Marjorie was born in 1977 and is 86 when the play begins), the show takes place in 2063. But nothing on stage makes it seem like we’re that far into the future. I would have expected some type of sci fi, futuristic look. Instead the set looks like a home I’d expect to see right now in Kerrisdale, and the costumes are clothing that people are currently wear.
Chronological inconsistencies set aside, the play has a very interesting story, and there’s some deep and compelling messaging. Namely, the possible impact that increasingly advancing AI can have on us, as well as the difficulties humans have with communicating with each other and expressing love. This play succeeded in making me feel slightly uncomfortable and disturbed, and if you’re like me, that’s always a fun time!
Ensemble Theatre Company’s production of Marjorie Prime runs until July 1, 2022 at the Waterfront Theatre, playing in repertoire with Pass Over. Visit the Ensemble Theatre Company site for ticket information.