At the Museum of Late Human Antiquities, the curators are fiercely committed to bringing a lost civilization to life again: What were humans really like? What did they wear, what did they eat, how did they die out? By casting us into the far future, Jordan Harrison’s new play gives us an uncanny view of the present moment, as we straddle the analog world that was and the post-human world to come.
Some of these scenes are beautifully drawn, with the wit, pith and undercurrent of sadness characteristic of Harrison’s best work. (The opportunities and perils of A.I. as human companions were the subject of his play “Marjorie Prime,” 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: “Well. Goodbye, Tom. I don’t expect I’ll see you again.”) The reason the 1987 boy is grieving is that his bachelor uncle was buried that day. We don’t need to be told what he died of. 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’s timeline but not compelling in themselves.
There are then three increasingly dystopian scenes in the future, before the one displaying the artifacts.After that, “The Antiquities” backtracks, going back to the previous stories and finishing them up. This is surely well-meaning, an effort to give us fuller stories rather than just a theme, and some of the individual stories do wrap up in a satisfying way. But it all started to feel too much. “The Antiquities,” which imagines a future in which human beings are no longer welcome by the creatures they created, started to outwear its own.
2024 | Off-Broadway |
Playwrights Horizons Off-Broadway Premiere Production Off-Broadway |
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