22 years in the future, two lab assistants hatch a plan that could change the world. All they need are a few volunteers. A raucous and provocative world premiere by Kate Douglas about sacrifice, ambition, and honeybees, directed by Kate Whoriskey (Clyde’s).
Science fiction may be a natural fit for movies and TV, where budgets allow CGI world-building and eye-popping F/X, but the genre flourishes in humbler forms of storytelling. Caryl Churchill probed the existential horror behind cloning in A Number and Jordan Harrison walked the uncanny valley with aide-mémoire androids in Marjorie Prime. Where does The Apiary rank among futuristic stage work? In Kate Douglas’s dark farce set a persnickety 22 years from now, bee populations are shrinking (even more) due to climate change. A pair of technicians who run a synthetic apiary think they’ve found a solution. But it’s going to take a lot of human corpses. The scientific stakes are fairly high—Earth is, um, dying—but after 75 minutes of tonal wobble, you may flit from Second Stage Theatre with little to buzz about.
Connecting the dots of what The Apiary actually wants to say might be less sticky if Whoriskey’s production felt more fluent. Instead, there’s a broad, vaguely dissonant quality to much of the show’s theatricality — as if the production keeps elbowing you in the ribs, taking you out of it every time you try to sink in. This sensation manifests in the acting—Schilling’s ranting, largely two-dimensional Gwen feels like she’s in a completely different play from Matthis and Herlihy—and in the design. Spangler’s set is bulky and expensive-looking, seemingly committed to a kind of realism, and yet that soaring netting is speckled with what look like raisins — stationary black dots that are meant to be bees. Same goes for the hive frames that Pilar lovingly removes for testing: more black dots. The delicate vestiges of life and movement that remain in these creatures are of such central importance that seeing them manifested as clearly static set dressing is disconcerting. Realism has gone as far as it can go and has hit a wall: What could have happened on the other side?
2024 | Off-Broadway |
Second Stage Off-Broadway Premiere Production Off-Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2024 | The Lortels | Outstanding Featured Performer in a Play | Carmen M. Herlihy |
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