By Gretchen C. Van Benthuysen
Jared Michael Delaney’s new science fiction play “Voyager One” is really out there.
Out there in the sense that NASA launched its Voyager 1 space probe on Sept. 5, 1977, to explore the outer solar system and so far it has traveled 13.5 billion miles – making it the most distant man-made object ever. It still receives commands and transmits data to Earth.
But what if many years in the future, suggests Delaney’s 90-minute play at the New Jersey Repertory Theater in Long Branch through July 21, Earthlings reencountered the probe? And it’s evolved. And may be dangerous.
Space junkies Sarah (Daven Ralston) and Carl (Joseph Carlston) work at a company categorizing information for the so-called Golden Record, a 12-inch gold-plated copper disk with recorded sounds and images of Earth designed to portray the diversity of life and culture on the planet (including why “Johnny B. Goode,” written and performed by Chuck Berry, was the perfect choice for the sole rock ’n’ roll selection.
But the play doesn’t begin with this Earth-bound couple and disembodied Voice (Mare Akana). It begins centuries in the future in a spaceship with Ralston as the dispassionate Woman and Carlston as Ceygan. (Is that a wordplay on cosmos demystifier Carl Sagan who assembled the Golden Record?)
In a series of scenes alternating between the 1970s and the far future, Delaney offers an old-fashioned office romance between Carl and Sarah that never gets off the ground, and a look at the future where female artificial intelligence rules. (Echos of “Star Trek: The Motion Picture” released in 1979 with a female robotic replica probe sent by “V’Ger.”)
The play is neatly directed by Evan Berman, NJ Rep’s associate artistic director, with a set designed by Jessica Parks that serves as a sleek spaceship in the far future and a 20th century basement office. Lights are basically up and down with a nice starry background effect when in space.
But with the same actors playing different people in alternating scenes, the play’s intent gets confusing. At times, Sarah’s thoughts seem to pop up in the Woman. Is the suggestion that the two characters somehow share some memories. Either way, Ralston handles the two different character personalities very well.
On the other hand, the Ceygan/Carl characters are interchangeable in looks, manner and speech. And, at times, annoyingly reticent. Not the actor’s fault.
The disembodied Siri-of-the-future voice provided by Akana, a longtime regular with the company, is fine. We don’t see her until the curtain call. In the end, Voice is convinced by Woman to abandon ship and get out of Dodge. I have no clue how that would work, but they should change their names to Thelma and Louise.
Journalist Gretchen C. Van Benthuysen’s theater news and reviews can be found on theatercues.com.
