Trailer for the stage production, which played November - December 2010 at 3LD Art + Technology Center in New York. Adaptation by Edward Einhorn, music by Henry Akona. Produced by Untitled Theater Company #61. More information on the show available at www.untitledtheater.com
“An act of fan love but also dramatically shrewd, since a downtown play is a better forum than a Hollywood blockbuster for a grim meditation on religion, consumerism and what it means to be human...Neal Wilkinson’s set is exactly right: high-tech but also organic, a design that resists straight lines and geometric shapes. Its surrealism (imagine a modest, cut-rate creation by Gaudí) matches the dreamlike style...What sticks with you are more ghostly images: a fuzzy video screen, a sad-faced android and an opera singer, played by Moira Stone, who seems both completely phony and movingly fragile at the same time.”
The New York Times
“Challenging, thought-provoking...[Dick]'s indictments of blind religious faith, tabloid TV, celebrity worship and a society gone numb seem depressingly timely four decades later.”
Time Out New York
“Edward Einhorn has crafted an eerie, strikingly designed adaptation of Philip K. Dick's heady post-apocalyptic novel.”
“Einhorn’s staging works well within the tight space and he creates some nice stage pictures. A lot of those pictures are bolstered by set designer Neal Wilkinson's vision of a deteriorating future world. There is an assortment of broken appliances and mannequin parts thrown into the nether regions that surround the raised stage platforms. Even the cellist, Laura Metcalf, uses a leg as a music stand.
“Metcalf's live solo cello played throughout his production is fantastic! Henry Akona composed the warm and sedate melodies. They say the cello creates sounds that are closest to the human voice so it is a perfect choice of instrument for a story about what it really means to be human. There is a cool video component to the production that works in many ways. There are three oddly shaped screens hanging above the set with a projector pointed at each one. Video designer Jared Mezzocchi uses them mostly as video screens for phone calls or TV shows the characters are watching.
“The cast is very good. Alex Emanuel plays Deckard with a cold, hard soul that slowly warms and melts as he begins to realize that he is actually more inhuman than human because he remorselessly hunts down androids. Yvonne Roen plays Priss and Rachel (the same model android but different people) with flair and certainly no fear. Moira Stone is extraordinary as Luna. She has a singing voice as strong as her acting skills. Christian Pedersen plays Roy with tons of grinning arrogance. He channels a lot of Rutger Hauer, who plays Roy is the movie. The rest of the cast does a fine job building this world where the lines between real and replica are blurred.
“This production is surprisingly provocative. The script pinpoints the subject and daringly tackles some heavy ideas. The design and music are exceptional and the acting is pretty solid. There are likely to be a lot of people out there that really only know this story from the movie but this is a great way to get the story Philip K Dick intended.”
“If you've read the book, you'll be especially delighted by this production; if you've seen the movie Blade Runner, you might be a bit confused. Regardless, Do Androids Dream Of Electric Sheep? is a brilliant theatrical event.
“I have to come clean here: I am a huge fan of the book, written in 1968 by Philip K. Dick, and also the 1982 movie directed by Ridley Scott; I was really looking forward to seeing this production. It was a slippery slope of possibilities: it could have been the worst gamble I'd made with New York independent theatre, it could have been awful.
“But it wasn't.
“Electric Sheep is a thoughtful adaptation by a company that took care to spend money where it was most necessary (set, props, costumes, video, projections) as well as on additions that made the production truly stellar (a cellist that underscored the entire performance on stage). It was clearly a labor of love and by people who really knew what they were doing."
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