{"id":3991,"date":"2025-02-05T02:28:15","date_gmt":"2025-02-05T02:28:15","guid":{"rendered":"https:\/\/site.itshrt.com\/worldnews\/the-antiquities-review-relics-of-late-human-life-in-12-exhibits\/"},"modified":"2025-02-05T02:28:15","modified_gmt":"2025-02-05T02:28:15","slug":"the-antiquities-review-relics-of-late-human-life-in-12-exhibits","status":"publish","type":"post","link":"https:\/\/site.itshrt.com\/worldnews\/the-antiquities-review-relics-of-late-human-life-in-12-exhibits\/","title":{"rendered":"\u2018The Antiquities\u2019 Review: Relics of Late Human Life in 12 Exhibits"},"content":{"rendered":"<p> <script async src=\"https:\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js?client=ca-pub-6606220950177433\"\r\n     crossorigin=\"anonymous\"><\/script>\r\n<!-- ItShrt World News -->\r\n<ins class=\"adsbygoogle\"\r\n     style=\"display:block\"\r\n     data-ad-client=\"ca-pub-6606220950177433\"\r\n     data-ad-slot=\"1882483372\"\r\n     data-ad-format=\"auto\"\r\n     data-full-width-responsive=\"true\"><\/ins>\r\n<script>\r\n     (adsbygoogle = window.adsbygoogle || []).push({});\r\n<\/script>\r\n<br \/>\n<\/p>\n<div data-testid=\"companionColumn-0\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">By a campfire on the shore of Lake Geneva in 1816, five friends take up the challenge of telling the scariest story. Mary Shelley is clearly the winner, with her cautionary tale (soon to be a novel) of an obsessed doctor whose electrified monster achieves sentience, then runs wild. So freaked out is her pal Lord Byron that his immediate, sneering response \u2014 \u201cyou\u2019re demented\u201d \u2014 quickly turns into a shiver and a prayer.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">\u201cMay we never be clever enough to create something that can replace us,\u201d he says.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">A mere 424 years later, in 2240, two post-human beings look back on that vignette, and the whole of the Anthropocene, with wonder and pity. How could people have thought of themselves as the endpoint of evolution, one of these inorganic intelligences asks rhetorically, when mankind was obviously just \u201ca transitional species\u201d and \u201ca blip on the timeline\u201d?<\/p>\n<p class=\"css-at9mc1 evys1bk0\">That timeline is the compelling if somewhat overbearing structural device of <a class=\"css-yywogo\" href=\"https:\/\/www.playwrightshorizons.org\/about\/production-history\/2020s\/2425-season\/the-antiquities-jordan-harrison\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">Jordan Harrison\u2019s play \u201cThe Antiquities,\u201d<\/a> which opened on Tuesday at Playwrights Horizons. Starting with Shelley\u2019s monster (which she counterfactually calls a \u201ccomputer\u201d) and ending with, well, the end of humanity, it could win a scary-story contest itself, as it maps one possible route, the Via Technologica, from Romantic glory to species demise.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-1\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">For the inorganics of 2240 are here not to praise mankind but to bury it. They are guides to \u201cexhibits\u201d in what the play\u2019s alternative title calls \u201cA Tour of the Permanent Collection in the Museum of Late Human Antiquities.\u201d The Shelley scene is the first of 12 such exhibits, demonstrating how inventions gradually overtook natural intelligence and then, like Frankenstein\u2019s monster, destroyed it.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-2\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">At first, the inventions seem useful or harmless or \u2014 to us, smack in the middle of the timeline \u2014 hopelessly obsolete. A woman in 1910 (Cindy Cheung) presents a wooden finger to a boy injured in a workhouse accident. A nerd circa 1978 (Ryan Spahn) shows off an awkward robot prototype that recognizes 400 English words. (The guy who is pleasuring the nerd is impressed.) In 1987, a mother (Kristen Sieh) whose grieving son (Julius Rinzel) cannot sleep agrees to let him watch one of her soaps, recorded on that magical yet soon-to-be-discontinued technology, the Betamax videotape.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Some of these scenes are beautifully drawn, with the wit, pith and undercurrent of sadness characteristic of Harrison\u2019s best work. (The opportunities and perils of A.I. as human companions were the subject of <a class=\"css-yywogo\" href=\"https:\/\/www.vulture.com\/2015\/12\/theater-review-marjorie-prime.html\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">his play \u201cMarjorie Prime,\u201d<\/a> a Pulitzer finalist in 2015.) The boy who gets the prosthetic finger is left at the workhouse because his family can no longer afford him. (Father to son: \u201cWell. Goodbye, Tom. I don\u2019t expect I\u2019ll see you again.\u201d) The reason the 1987 boy is grieving is that his bachelor uncle was buried that day. We don\u2019t need to be told what he died of.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">But other scenes, like one set in 2076, when the last humans live as outlaws in a dystopia of semi-robot overlords, feel more like place fillers, necessary as steps in Harrison\u2019s timeline but not compelling in themselves. Others are barely throwaways, bleak vaudeville sketches that make a point and black out.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Because of this discontinuity of time and character \u2014 the nine fine actors play 45 roles \u2014 \u201cThe Antiquities\u201d is not cumulative in the usual sense, in which behavior and consequence are connected within the confines of a life, an hour or even an instant. Rather, as soon as we care about someone, that someone is snuffed out.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-3\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">I mean by the playwright, but of course every human, in the play and otherwise, is snuffed out in a more literal sense too. This is useful in highlighting the theme of mortality, both on the personal and geological scales, directing you to think less about the value of a life than of life-forms. Perhaps the play\u2019s most dreadful line is spoken by a writer (Amelia Workman) who by 2031 \u2014 just six years hence! \u2014 can no longer compete in the market with A.I.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-4\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">\u201cIf they can do everything that makes me <em class=\"css-2fg4z9 e1gzwzxm0\">me<\/em>,\u201d she asks, \u201cthen what\u2019s the point of me?\u201d<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Though this character disappears from the story a moment later, Harrison has not left his play with nothing to hold it together. Where characters are fleeting, ideas and images recur, often across long stretches. Many scenes are linked by references to earlier ones, like structural Easter eggs. We meet Percy Shelley \u2014 Mary\u2019s husband \u2014 in that first scene by the campfire; in the second, nearly a century later, we hear a woman struggling to read his \u201c<a class=\"css-yywogo\" href=\"https:\/\/www.poetryfoundation.org\/poems\/45134\/ode-to-the-west-wind\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">Ode to the West Wind<\/a>.\u201d An A.I. device one character considers implanting in 2032 is implanted in everyone by 2076.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">The logic, then, is less narrative than poetic \u2014 or to put it another way, it is software not hardware. If that\u2019s a daring choice, it pays off spectacularly about two-thirds of the way through the play\u2019s 95 minutes. As the timeline comes to its apparent end, our guides introduce us to a special exhibit, unlike the others.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">This is a reliquary of human technology, revealed in a scene that suggests how future beings, like paleontologists inferring huge dinosaurs from tiny bones, get so much wrong. For all their brainpower, they misconstrue Pert shampoo as a soft drink, clarinets as medical instruments, Betamaxes as some kind of treasure requiring refrigeration.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div data-testid=\"companionColumn-5\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Exquisite moments like that, hilarious and scalding, bear the hallmark not only of Harrison but also of David Cromer, who directed \u201cThe Antiquities\u201d with Caitlin Sullivan. Everything is perfectly judged for maximum effect without overstatement: the matte metal panels (sets by Paul Steinberg), the museum-case lighting (by Tyler Micoleau), the sociologically pinpoint costumes (by Brenda Abbandandolo), the creepy sound (by Christopher Darbassie) and especially the props (by Matt Carlin).<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Though extremely minimal, and always tastefully restrained, it all looks like a million bucks \u2014 which may be why the play is a three-way co-production, with Playwrights and the Vineyard Theater in New York and the Goodman Theater in Chicago.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">But in never going too far it may be that \u201cThe Antiquities\u201d does not go far enough. Its last third, which I won\u2019t spoil, revises our view of the timeline cleverly but strains to justify itself. To the extent it does, it\u2019s in the old-fashioned way that the rest of the play has so often abjured: by trying to engage us with humans as vivid, meaningful individuals, not merely as awkward bearers of a dying intelligence.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">In the process, Harrison\u2019s play seems to equate the natural desire to survive, to feel and to matter \u2014 to discover, to mourn, to enjoy and create \u2014 with a kind of hubris that, like global warming, will lead inevitably to extinction. Was the Betamax to blame? Was Mary Shelley\u2019s vision? \u201cThe Antiquities\u201d is finally less a memorial than a morality pageant. That may not be wrong but it\u2019s only half the story.<\/p>\n<p class=\"css-798hid etfikam0\"><strong class=\"css-8qgvsz ebyp5n10\">The Antiquities<\/strong><br \/>Through Feb. 23 at Playwrights Horizons, Manhattan; <a class=\"css-yywogo\" href=\"https:\/\/www.playwrightshorizons.org\/about\/production-history\/2020s\/2425-season\/the-antiquities-jordan-harrison\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">playwrightshorizons.org<\/a>. Running time: 1 hour 35 minutes.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<p><script async src=\"https:\/\/pagead2.googlesyndication.com\/pagead\/js\/adsbygoogle.js?client=ca-pub-6606220950177433\"\r\n     crossorigin=\"anonymous\"><\/script>\r\n<!-- ItShrt World News -->\r\n<ins class=\"adsbygoogle\"\r\n     style=\"display:block\"\r\n     data-ad-client=\"ca-pub-6606220950177433\"\r\n     data-ad-slot=\"1882483372\"\r\n     data-ad-format=\"auto\"\r\n     data-full-width-responsive=\"true\"><\/ins>\r\n<script>\r\n     (adsbygoogle = window.adsbygoogle || []).push({});\r\n<\/script>\r\n<br \/>\n<br \/><a href=\"https:\/\/www.nytimes.com\/2025\/02\/04\/theater\/the-antiquities-review-ai.html\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>By a campfire on the shore of Lake Geneva in 1816, five friends take up the challenge of telling the<\/p>\n","protected":false},"author":1,"featured_media":3992,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[39],"tags":[1704,1701,1702,1707,1700,534,1705,1703,1708,672,1699,1706],"class_list":["post-3991","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-technology","tag-caitlin-theater-director","tag-cromer","tag-david","tag-goodman-theater","tag-harrison","tag-jordan","tag-playwrights-horizons","tag-sullivan","tag-the-antiquities-play","tag-theater","tag-theater-off-broadway","tag-vineyard-theater"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>\u2018The Antiquities\u2019 Review: Relics of Late Human Life in 12 Exhibits - World News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link 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