Marjorie Prime

Jordan Harrison poses many big questions in this tale of a near future in which lifelike human replicas of our loved ones can be purchased to provide company and solace to the bereaved. This thought-provoking and captivating play is perfect for modern society. We’re already living with Siri and Alexa, which will likely be seen historically as the early stages of AI robot companionship.

Marjorie Primeexplores how our memories and stories are shared; how family myths evolve and are subject to exaggerations, how we sometimes omit the most painful parts of our shared narrative. Miraculously, it examines dark themes such suicide, euthanasia, and mortality, the insidiousness of dementia and the ways in which age ravages the body, without becoming too depressing. Tremendous existential questions such as, ‘Is engaging in an active lifestyle merely a pointless distraction from our own inevitable demise?’ are posed without answers. All of which is truly captivating.

Aside from magnificent script-choice, director Paul Marshall has done well to deliver a show that’s confidently executed. The players are all well-cast in this four-hander. They’re comfortable enough on stage to let their characters sit in uncomfortable silences. This gives the audience moments to think about the big themes in the script. His set designs are simple yet effective, giving the cast plenty to play around, without distracting from the text.

Gail Payne shines as Marjorie. Her characterisation, physicality and phrasing of dialogue is excellent. David Richardson’s portrayal of Walter shows outstanding physical discipline. Before it’s revealed in the script, he shows you there’s something not entirely human about him. He’s a little stiff, a little awkward – just as a human facsimile ought to be – he’s close to human, but not quite right. Tess, played by Jane Rapley, has the difficult task of having to muster up tears on more than one occasion, which she does so convincingly. While Steve Tanks as Jon provides a gentle counterpoint to Tess’ angst, making his harrowing breakdown at the end feel more profound.

Chris O’Leary’s lighting design for the final scene in which the primes converse with one another is quite magical. Just like Marshall’s direction, the sound and lighting design doesn’t seek to steal the spotlight from the amazing script. Everything is done in service of the text and it shows.

If you have a chance to see this play, it comes highly recommended. It’s sure to provide great food for thought and conversation with your companions afterward – be they AI or real humans.

Kiesten McCauley

Photographer - Kaymar Kreations