By Eva Phillips
Transcendentalism undergoes many changes as humans evolve. Whether this transcendentalism manifests the thirst to conquer the elements by mastering a flying apparatus, or developing hyper-aware Artificial Intelligence to enhance existential normalcy, though, the common thread is to become indomitable, all-knowing, and to defy the human legacy of eventually being forgotten. This may seem innocent enough in theory, yet this quest to become omnipotent and the master of one’s own fate is the fodder for countless narratives of doom, terror, and violent demise–the 15th century German folk stories warning of the follies of Doctor Faust; the dangerous determination of Captain Ahab; and the parasitic craving for knowledge of the man in The Twilight Zone‘s infamous “Time Enough at Last.”
In their latest production of a daring and experimental season, Duquesne Red Masquers tackle Kim Z. Dale’s first full-length production, Endeavor Mind, examining the irrevocable damages of transcendentalism in the over-stimulated tech age. When Claudine (Mackenzie Martin), a gifted computer scientist with a love for cryptograms, reaches a point of tedium in her home and work life, she decides to undergo an new procedure pioneered by Frances Westmore (Colleen Hammond) and her company Endeavor Mind that will allow Claudine to be, by Frances’ summation, “smarter than a computer.” To the uneasy dismay of her supportive husband Ray (Patrick McLean) and thrill of her budding neuroscientist daughter Addison (Khloe Manuppelli), Claudine begins to thrive and surpass expectations after to procedure, even going so far as to forge a unique bond with Frances Westmore herself. Of course, her success is short-lived, and her eerie demise unfolds faster than Claudine, her family, or even Endeavor Mind can track or control.
There is much in this production that deserves to be experienced rather than discussed (and spoiled), so without divulging to much, I will say that the cast and crew of this Duquesne project ably handle this provocative but, at times, messy script. Jill Jeffrey’s dutiful work as director reflected a comprehensive understanding of the material and the importance of the themes at play (often more so than it would seem, the playwright did). The direction is aided by Antonia Gelorme’s work as lighting designer that precisely and cleverly transformed the space in Genesius Theater, as well as expertly yet subtly moved the story swiftly along.
The cast of Endeavor Mind (which, I have to think, was intentionally titled because it sounds so closely like “never mind” when said quickly –a sort of nod to the consequential dangers of toying with science) is doing an admirable amount of work to make the story as tight and emotive as possible, when, at times, the script lags or misses the mark. Every player does a delightful job, with Mackenzie Martin and Colleen Hammond pulling out all the stops in their performances as Frances Westmore and Claudine, respectively. Martin and Hammond both imbue passion and detailed characterization into two women that are designed a bit rigidly in the script, and allow the women they portray to flourish and become multidimensional through their performances.
Endeavor Mind is a fascinating show in the Red Masquers’ current season that continues to delight and stimulate. Though the story suffers from indulging its own over-ambitiousness, to have three women who are powerhouses in scientific fields drive the action of a story is a surprising pleasure to see. The Red Masquers are a notable creative, talented crew in Pittsburgh’s rich tapestry of theatre.
For more information about the Red Masquer’s current season, visit their homepage.
Categories: Archived Reviews