By David Dixon
The concept of artificial intelligence has been featured in numerous films and books. Yet, A.I. has not been examined nearly as much in live theater. The San Diego Repertory Theatre at Horton Plaza is a member of the National New Play Network, which is taking a big risk by examining this topic through the local premiere of “Uncanny Valley.”
The work is directed by Jessica Bird, an associate producer at the La Jolla Playhouse and a producer in residence at the Rep. Bird has also directed and acted as an assistant director for many plays. While her resume is already impressive, Bird considers “Uncanny Valley” to be her “big break.”
Set 40 years in the future, the plot revolves around an unusual liaison between a 70-year-old neuroscientist, Claire (Rosina Reynolds), and a non-biological being that she has created, Julian (Nick Cagle). At first, Claire acts as a surrogate mother who tries to teach Julian about being human, and all the nuances and complexities that it entails. As events unfold and time passes, their connection to each other dramatically changes in unexpected ways.
Audience members might expect the director of “Uncanny Valley” to be a die-hard fan of futuristic adventures from writers such as Philip K. Dick and Ray Bradbury. Ironically, the sci-fi elements were not what attracted Bird to Thomas Gibbons’ script.
“On the outside, the story seems like a piece about a robot and a scientist,” she said. “There are those elements, but at the heart of it, the tale is about humanity and what makes us human. Claire and Julian really develop a mother/son relationship and they become bonded with one another.”
Since Bird is not the most devoted follower of sci-fi, after she first heard about the drama, she was not sure if it would appeal to her.
“When I was asked to read the script, I thought I was probably not going to like the plot very much,” she said. “After I read it, I realized that ‘Uncanny Valley’ is a really great play and deals with much more than just futuristic concepts.”
The director believes that the theatrical piece will appeal to a broad audience.
“I think the technology community is going to enjoy this, but even people that wouldn’t consider themselves sci-fi fans will find plenty to appreciate,” she said.
Although “Uncanny Valley” is set several decades in the future, Bird senses that the Gibbons’ vision could become a reality.
“Right now, there are scientists and companies that are experimenting with combining artificially intelligent robots and human consciousness,” she said. “The way technology is moving, it’s like you have 100 years of progression in 10 years. I personally think A.I. is going to intertwine with our lives. Not necessarily with robots, but instead will result from artificial limbs and things that people are turning to for medical reasons.”
An issue that she believes will continue to get bigger is “how far will you go with technology,” she said. “People that are making the breakthroughs have a huge ethical responsibility in their hands.”
After the run of “Uncanny Valley” is over, Bird looks forward to transitioning from one-day directing to directing a show written by Sarah Ruhl. The playwright is best known for her Tony nominated comedy “In the Next Room (Or the Vibrator Play),” “Eurydice” and the 2005 Pulitzer Prize finalist, “The Clean House.”
“She speaks to the female experience and is very poetic and creative in her pieces,” she said. “I would love to direct one of her plays sometime soon.”
However, until then, her focus is on her current project, “Uncanny Valley.” A major reason why Bird believes audiences will enjoy the production is because of the originality and ambition of the unique event.
“There are not many plays that try to depict robots on stage,” she said. “The creative talent and work that the actors are putting into it is pretty fascinating to watch.”
Bird’s intriguing comments makes the San Diego Rep’s staging seem like a deeply insightful and emotionally compelling two-header.
—Contact David Dixon at [email protected].
