After the Blast @ convergence-continuum

Potentially unpopular opinion - I'm a little sick of dystopian stories. Like, okay, the world might end while I'm alive to see it, whatever, I already have my exit plan in place (take a ton of edibles and curl into the fetal position and go out vibin', baby. Enjoy that fat I've been storing up, zombies.). I'm also an annoying sci-fi nay-sayer - I've famously never seen any Star Wars or Star Trek and love messing with super fans of one or both by pretending to confuse them (that's right, friends - I do know that Captain Kirk is not Han Solo's father.)

So when I saw one of my favorite theatres in town was doing something "dystopian" and "science fiction," I wasn't all that interested. But I went to see "After the Blast" at convergence-continuum this spring for a few reasons.

1. I am lucky to know and care about every single person involved in this production.
2. I am also lucky to call con-con one of my local theatrical homes and am ever happy to support them.
3. con-con has a tendency to surprise me and I was willing to let them, again.

I am devastated to tell you, dear readers (aka, just my mom, hey Mom!) that I absolutely adored this dystopian, sci-fi thing of beauty con-con has put together. con-con is a theatre I love for many reasons, one of which being their penchant for producing theatre that pushes boundaries and takes risks. This is usually a good thing for me, but, being the insufferable anti-sci-fi jerk I am, I wondered if this would make for a sci-fi production that was... a LOT. As in, too much. I was wrong. "After the Blast" was just right.

con-con's production of "After the Blast" as directed by Eva Nel Brettrager was simply resonant - that is, deep, clear, and continuing to ring in my soul as a wholly captivating and beautiful envisioning of the complexities of the ghastly future we are undoubtedly creating for ourselves. 

Cory Molner and Scott Zolkowsi's set for this show, representing the subterranean bunker where "the best and brightest" of humanity move once earth becomes unlivable, was gorgeous. The lighting columns set in the walls, the sliding doors that chimed, the simple built in shelves, and even the well-done wall seams offered an atmosphere that was simple and bleak but somehow lovely. In addition to the lighting columns, the only other pops of color other than light were some succulents, some table flowers, and a couple of knick-knacks. These scarce pops of color juxtaposed well with the grey set and intentionally unremarkable beige and grey costume pieces selected by Amanda Rowe-Van Allen. Kate Smith's props were slim and effective with one exception - we'll get to him later. con-con's trend of show-appropriate pre-show speeches rife with bits of humor was heightened by the robotic affect for this show, voiced by Kate Smith. Neil Sudhakaran's projections and sounds were effective, especially during the  above-world memories of Margarita, and I appreciated Rob Wachala's lighting effects in creating color and warmth in this world of pristine and bleakness. JC Cifranic was, as always, a precise and holistic stage manager, head on a swivel and the glue holding all of the elements together. It always feels clear when they are managing a production. Another thing always clear? When Eva Nel Brettrager is directing. From first-hand experience being directed by them, I can tell you they are sharp and collaborative, creative and careful. This combination shone through in this production.

It's time. It's time to talk about mad scientist Kate Smith's creation - the robot. I wasn't sure what to expect. Would it be a human in a robot costume? An R2-D2 style trash can on a remote control car to transport it around the stage? (I had to Google that to make sure I meant R2-D2 and not C-3PO. Did you know there's another cute little guy called BB-8?) I was half right - The Helper, aka Arthur, aka Artie, aka Mija did resemble R2-D2, but also had mammal-like features - teddy bear ears and big eyes. Interesting choice, I thought. I soon came to find it was exactly what the script called for, with references to the robot being named Artie after R2-D2, being like a dog to train and lead visually impaired children in simple tasks. The combination of creatures was effective and I came to truly care for Artie as the show progressed - until I didn't.

Alex Strzemilowski was the one cast member I didn't know well. I'm sure I appreciated his initial scene as Sam, but I'm not here to talk about that. Alex bravely donned the grey skin suit most of the show to operate the robot puppet "Artie" (and, later, "Mija"). My first thought, honestly, was that I would find it distracting. However, less than halfway to intermission, I completely forgot Alex was even on stage. Alex's movements were so precise and in tune with the robot, that even as I tried to focus on Alex's work, I forgot again and again that he was operating it. When I did remember to watch him, it mostly made my 35 year old knees hurt to watch his effortless crouch-walk around stage. It was actually annoying how good he was at all of it. And, in fact, the choice to put Alex in the grey skin suit was effective in a surprising way - Alex's lack of human face made for somewhat of a creepy 'uncanny valley' effect that created a sudden discomfort upon noticing and re-noticing Alex, perhaps foreshadowing Anna's stomach-dropping realization later in the show.

As the show went on, Alex's puppetry was perfectly in sync with the off-stage vocalizations of Artie, so much so that when I leaned back so I couldn't see Alex at all, it was wholly believable that the puppet was moving on its own as it spoke. Speaking of the robot vocalization - kudos to Michael Montanus for his choices in representing Artie's voice. He and Alex worked in sync to make the robot puppetry believable, and Michael's overly formal and staccato enunciation helped remind us that Artie was indeed inhuman. Michael's rapid fire toddler-like questions and deafening volume when preparing Anna for her mental health exam provided some great comic relief. Michael had a good demeanor as Lowes - detached but still with some compassion for Anna's devastation, demonstrating a comforting humanity. 

Cat Kenney pleasantly surprised me with her Spanish speaking abilities - as a proficient Spanish speaker myself, I was interested to see how this scene would work not having found a native Spanish speaker to cast. Cat clearly did a lot of work for this one scene, where her Margarita gave us a sweet look into one of the OG undergrounders who remembers the world as it once was. Cat played the older Margarita convincingly. 

Katherine Nash and Mike Frye played charming supporting roles as Patrick and Carrie, good friends of Anna and Oliver and an effective juxtaposition of their strained marriage, fertility, and Anna's mental health. Their lives seemed to be the ideal of a couple underground - easygoing, willing to adapt, seemingly in love. I always enjoy Mike Frye's unique take on his characters, and appreciated his best friend and brother to Oliver and husband to Carrie - a worthy adversary in cleverness to both. I was delighted to see Katherine in her roles. She portrayed Carrie with an endearing wonder and an unquestioning acceptance of her world, and later on with a fierce protectiveness of her child. She joined Michael Montanus with effective comedic timing and excellent robotic vocal choices, this time as Mija, the reprogrammed robot Artie.

Patrick Warner beautifully portrayed the difficulty Oliver faced underground - wanting to fulfill his accepted purpose of making the world re-inhabitable for the next generation to survive, and wanting to support and help his wife struggling to do the same. I loved Patrick's emotional range throughout the show as he moved through Oliver's experience of taking a huge risk to help his wife find purpose - especially the scene where he listened to her tell Artie that she did not feel fulfilled by her husband. His excitement showing Anna the "Helper" video was adorable and contagious. And I loved his tentative chemistry with Carolyn in their portrayal of a couple who love one another but who don't fully understand one another. Patrick has such an old soul that shows through in his onstage persona - a world-weary wisdom that makes one curious about him. I have seen Patrick's scene work and performance of his original poetry, but this was my first time seeing him in a fully realized role, and at only 26 years old, I am thrilled to see the roles he will continue to take.

Carolyn Demanelis accomplished something in her creation of Anna that can be tricky - to depict a person with mental illness on stage in a way that is compassionate and dimensional, that respects people with mental illness off stage. From the start I empathized with Anna's difficulty to accept the world she had been given - an artist and admirer of beauty at heart, granted only sims designed by 'the artists of our time' - an interesting line to hear in this age of debate over AI-generated 'art.' I understood Anna's resistance to escaping - either into sims or through anti-depressants. I felt with Anna's hope and heartbreak at her journey above ground and her need for purpose. And then! After initial hesitation of the new being in her home, Anna's sudden affection for the dog-like Artie felt so real. Her motherlike patience for Artie's questions was lovely. I loved Carolyn's freeness singing and dancing around with Artie, her grin and inaudible 'thank you' every time he fetched the ball. My heart broke as I watched Carolyn's face fall when Artie innocently asked, "why were you made if you do not have a purpose?" - a question many with clinical depression have posed in dark times. Anna's explanation of her depression and suicidal ideation - "my purpose became not to kill myself" - was heart wrenching. When she explained her desire for a child as, "so that when we die, some piece of us remains," I felt my heart twist again - a thought on which I've certainly ruminated. And my heart - which really got a work out in this show - sank at the devastating and loaded realization Carolyn came to in the scene with Margarita and Mija. Apologies to the patrons near me - I believe I let out an audible noise of a deflating balloon as tears sprung to my eyes. Carolyn really made me feel what Anna felt, as a woman who also questions the ethics of bringing a child into this world, for whom mental health has not been simple, for whom purpose sometimes feels elusive. Carolyn's quick snap to slicing anger with its undercurrent of fear, to her tender sadness with Carrie's child, to her intense pain toward Patrick's Oliver, provided the rollercoaster of emotions Anna felt at the end of the show. Thank you, Carolyn, for your responsible and kind portrayal of all of the resonant parts of Anna this show called for.

I imagine our future may be not so dissimilar to the world cleverly created by Eva Nel Brettrager and the cast and crew of "After the Blast" at con-con. The best and brightest chosen to carry us forward, be it underground, on the moon, or elsewhere - and those not chosen left to survive however they can (may I again suggest the edibles and vibe method?). Brilliantly designed sims - those who embrace them and those who resist them. And, to my delight, some of the themes are additionally so reminiscent of our world now. Survival - not only physical, but emotional. Memories of a world before - real, or simulated - that bring us sadness and possibility. A "singles compound in the middle of nowhere" - lol.  Love, even when it feels impossible. Love, and making choices out of love that sometimes turn out to be the wrong ones. Mental illness that can't be simmed away. Finding purpose and love in unexpected places - and experiencing betrayal and heartbreak just as we do up above. 

There are three more chances to see "After the Blast" at convergence-continuum - April 20, 21, and 22. Seating is limited in their intimate black box space - reserve tickets at www.convergence-continuum.org/.