Describing The Absentee as sci-fi is both fair and reductive. Despite a first impression of a futuristic control panel, this science fiction defied expectations. In Kitchen Dog Theater’s current production and regional premiere, playwright Julia Doolittle mixes equal parts comedy, dystopian futures, drama and science fiction while also weaving a story that was surrealistic but also a very humanistic story about isolation away from connection.
The year is 2088 and the setting is deep space. Operator, played by Jenny Ledel, is the lone person on a corporate space station out in the depths of space. Her only companion is the AI system Beacon, played by Elizabeth Sankarsingh, presented in human form to assist Operator as needed. Operator has spent almost a decade in space manning the station which serves as a checkpoint for traveling spacecrafts.
Ledel was a dynamo in the role that demanded much from all her talents. Operator is jaded and sarcastic but as the story pushes forward into some self-realization, Ledel peeled back layers that revealed a deeper, wounded side to Operator and the pain of her long gone wife. As the love story of The Absentee unfolded, the play and Ledel delivered that with gut-punching realism — even in far off space.
Amid Operator’s mundane duties, all is disrupted by a video phone call. Glenn, played by Julian Harris, is a volunteer for a presidential candidate’s campaign calling to ask if she will be participating in the upcoming election. The notion felt silly but Doolittle fleshes out the premise with a lovely sincerity as Glenn proceeds to offer Operator an absentee ballot.
Over multiple calls, Operator’s defenses dwindle but she’s still on guard.
Harris’ earnest performance felt pure and genuine despite not having much to do. Glenn is a catalyst for Operator’s feelings and Harris dialed into the character’s calming charm with ease.
Sankarsingh succeeded as the AI assistant Beacon. She was consistent at keeping a friendly but distant tone. The role then expanded into a more emotional one as the Beacon and Operator have a powerful reckoning – and then there’s an explosion.
Jennifer Kuenzer played Lieutenant Zala who helps guide Operator through the wreckage from the explosion. As the military officer, Kuenzer delivered a perfectly stoic portrayal against Operator’s frantic posturing.
The play delivered big exposition in a short time but still breathing with a steady pace. Tina Parker’s direction handled the narrative with a tender touch all in about 80 minutes. In that brief time, Operator and Glenn felt fully realized while Beacon’s AI variants were compelling and humorous – particularly in one classic TV reference.
This was all aided by Brian Wofford’s marvelous set crafted with meticulous detail alongside Cindy Ernst-Godinez’s props design. Christopher L. Trevino’s lighting was rich, bathing the stage in red during the alert but also painting scenes with nice variations of warm and cool. Brian Mcdonald’s sound design was an added layer that reassured the audience was in deep space along with Operator and Beacon. And to take it to another level appropriate for the future was Zeph Kenna’s video design.
To get the full effect of all the technical work, you just have to see it.
Operator – her name is eventually revealed – has lost any connection with people (outside of specific communications) but also finds solace in her distance and solitude – only it’s a veil. Doolittle’s trick is presenting this somewhat quirky story to start but then uses that gravity to keep audiences locked in to this very human story of love and loss. The Absentee was an astounding feat of theater that delivered on multiple levels and just may leave you silent in thought after curtain call.
The show runs through Oct. 4.
–Rich Lopez
