written & performed by Tom Sgouros
at Center for Cognitive Studies, Barnum Building
Tufts University/ (401) 781-5695
Spring 2000
Additionally titled, "My Dinner with Android," Providence RI performance artist Tom Sgouros's latest metaphysical foray is a solo show with two distinct characters; the author as himself and Judy, a table-top non-humanoid robot built from scrap. The latter, voiced on tape by Marilyn DuBois, is a rotating extensible upright topped with a pincer sporting two washer "eyes," programmed with a repertoire of simple actions, carefully choreographed to bring this obviously mechanical object to life. Tightly scripted and well rehearsed, the illusion of communication between Tom and Judy, as they play chess, is only broken when Sgouros wishes to, and is regained almost instantly. The audience accepts Judy as an entity with intellect and feelings, unwilling to perform the servile tasks for which she was created. The evening's final twist makes the whole question "what is it like to ..." even more disturbing.
Sgouros premiered this show in January at the Perishable Theatre in Providence at AS220, a longtime alternative performance site; his 8th outing there, perhaps his most ambitious, at least from a technical standpoint. For 55 minutes he must synchronize all lines and actions with his creation, albeit in several discrete scenes actually controlled by a laptop onstage Perhaps he can explore his own personal programming in a future piece, and bring it once again to Tufts. Cognitive Studies are certainly appropriate when considering this piece.
There are always risks in technology.-based productions. In this case, the sound was adequate for the lecture hall where the piece was played, but Tom's wireless mike, when he finally turned it on (a mistake not part of the show) reduced his vocal range. Better equipment was clearly needed; perhaps separate smaller systems for man and machine. In fact, before Tom remembered mute button, his own projected voice against Judy's recorded track suggested two world of discourse; when he came online (so to speak), the line was blurred. The slide show of Judy's "baby" pictures and her domestic service needs to be scaled to the rest of the show. Again, better projection equipment; or better, a big screen monitor would help The chess game between the man and machine seems to be integrated in the script but is hard for anyone not playing constantly to follow. Echoing i the exchanges on a video screen might suggest the ongoing effort to produce the ultimate chess computer, and let the audience in on the game more.
Technical considerations aside, this was an engrossing evening. Even this non-humanoid figure, with a suggestion of a dog-like head and no arms becomes a personality onstage. Real questions about consciousness, freedom to act, the relationship between the creator and the created are woven into a bravura performance. At one point, to demonstrate to Judy that she is totally programmed, Tom "rewinds" her tape. The scene then continues with her lines repeated as before, but his altogether new, and when the exchange is through, the conversation takes a new tack. And on the few occasions when Judy stops moving for more than a few minutes, the audience begins to wonder, - not whether there's been a power-failure, but whether, somehow, this character has ceased to be.
The solo show, seen intermittently since the late 1800s, has really blossomed in the last two decades; usually as quite minimalist treatments featuring a performer and text. Tom's current effort, something akin to object theatre puppetry or hi-tech "ventriloquism" ups the ante. The work of a local Boston performer also comes to mind. Evan O'Sullivan, aka "Evan O'Television" has created an ongoing duologue between himself and his video alter-ego. In the last installment, "Evan O'T" announced that he was trying to get his own agent, since he was now a recognizable commodity. We may expect to see future theatrical attempts to integrate the soul of these new machines into the fabric of drama. There have been giant world-dominating computers in film, and robots of varying ability on T.V. When and how will we see the "real" thing on the legitimate stage? "Judy " may make it to the Big Apple in the fall of 2000.