IS FANTASTIC, FATALISTIC
‘Mr. Burns, A Post-Electric Play’
‘M r. Burns, A PostElectric Play” by Anne Washburn is a critically acclaimed favorite for the millennial generation.
Washburn envisions life for survivors after an apocalypse that has decimated the population and destroyed their infrastructure, including the nuclear power plants. The resulting radioactivity further decimates the population several times over. Survivors group together defending themselves from marauders and wondering how to build a new world as they grieve for all they have lost. Family, friends, lovers, neighbors, refrigeration, television and texting are all obliterated.
A group of survivors gather around a campfire with weapons handy should any intruders be dangerous. They have salvaged a beer or two and struggle with their loss by reconstructing a favorite episode from ‘The Simpsons’ television show. Mr. Burns, the CEO of the Springfield Nuclear Plant, is sending threatening letters to Bart Simpson. It is important to bring this normalcy into their lives, and they focus on the Simpson family as they also begin to reconstruct a culture, building an oral history for future generations.
“Mr. Burns, A Post-Electric Play” is a co-production of Oklahoma City Repertory Theatre (CityRep) and Oklahoma City University. CityRep provides a high standard of excellence in professional theater in this region, and the nation. This collaboration combines the epitome of professionalism and the enthusiasm of scholarship to create a masterful production.
Brian Parsons, associate dean of the OCU School of Theatre, directs a superb cast and oversees an incredible crew for an intricate production. Parsons guides the large cast through a multiplicity of stereotypical roles.
The characters represent a reality of society we struggle with even though we have electricity, refrigeration and television. Today our culture has become polarized, fragmented and disposable — our facades are all that we dare reveal. Under our superficial, somewhat shallow exteriors, substance and emotional connections are hidden or obscured, if not numbed and undeveloped. Washburn has created characters that reflect this aspect of society. The challenge for the actors is to play these roles effectively without the convenience of standard character development.
The seven lead players out of the 16 performers — Timothy Fall, Sarah Feist, Kris Schinske, Paul Taylor, Ashley Arnold, Bob Hess and Liza Clark — are all superb performers. They present exciting interpretations of characters and caricatures that are emotionally stunted from shock. The entire cast is superb, sublime and stimulating.
While Washburn targets millennials in “Mr. Burns, A Post-Electric Play,” she does not neglect other generations of theatergoers. Some seasoned goers may react with fear, dislike and shame, but they won’t be able to stop talking about it. Washburn’s intention succeeds because of the mastery, dedication and drive coming out of OCU School of Theatre and CityRep.
Cast members include professors, students and professionals with a connection to the university and CityRep. The production is a technical masterpiece under the expertise of production stage manager, Steve Emerson. Jason Foreman’s set designs are interesting and striking. Andy Wallach’s costumes are appropriate, expressive and some are quite lovely. Lights, properties and sound effects are integral and complement Parson’s direction. It should be noted that gunshots are fired.
Robert Pittenridge, crafting gorgeous masks in the tradition of Greek tragedy, enhances the final act. Properties are extensive and well placed. Eric David Frei is musical director, and Sheri Hayden is responsible for natural, as well as stylistic, movement and choreography.
— ELIZABETH HURD,