Off-Broadway Review: Marjorie Prime

Lois Smith,, Lisa Emery and Stephen Root. Photo: Jeremy Daniel

Which Memories Do You Want to Keep?

By Lauren Yarger
Before we launch into reviews for the large number of shows opening on Broadway (stay tuned in upcoming weeks for a preview of what’s coming up and reviews of what’s on stage) I want to make sure you know about an interesting Off-Broadway run over at Playwrights Horizons.

2015 Pulitzer-Prize finalist Marjorie Prime, written by Jordan Harrison (Maple and Vine, “Orange is the New Black”) is getting an extended New York premiere directed by Anne Kauffman. It would be easy to miss it in the burst of big openings down the street on Broadway and that would be a shame, because quieter, thoughtful pieces like Marjorie Prime can be some of the most satisfying times in the theater.

The always excellent Lois Smith stars as Marjorie, an 85-year-old woman who engages a robot to help her remember her departed husband, Walter (Noah Bean). This artificial intelligence unit (or Prime) looks like her husband in his youth and is programmed to remember stories about how they met and their life together.

Her son-in-law Jon (Stephen Root – you’ll know him as the stapler guy from the movie “Office Space”) thinks it’s a great idea and writes down stories when Marjorie shares them to help Walter be – well, more like Walter. And sometimes, he adds a little information to make the memory even more pleasant.

Marjorie’s daughter, Tess (Lisa Emery) is more skeptical of the whole Prime thing, however.  The idea of sharing everything online via social media tools that know our likes and dislikes and what we want before we know ourselves is a little unsettling, she thinks. 

More unsettling is the emerging theme of what makes a memory real and which ones do we really want to remember? Marjorie has forgotten the loss of her troubled son. Is that really such a bad thing? Does Walter really need to be programmed to know about him and remind Marjorie of him? Tess, who still remembers her brother’s death and the fears surrounding it isn’t comforted by being able to remember, so why make her mother relive them?

When memories are lost, or altered, are they any less real? And if we had the chance, which memories would we choose to keep or forget – and why? These are some questions probed by Harrison.

The ensemble gives fine performances in the thought-provoking piece, which plays out on a lime-green apartment set (design by Laura Jellinek) bland enough to allow lighting designer Ben Stanton to focus on characters and the creepy nature of what is taking place. The plot is more intellectual than fast-paced action in this 90-minute, no intermission play, but Kauffman’s taut direction doesn’t allow it to sound boring. Harrison’s script also keeps the subject from veering into science fiction.

Marjorie Prime is extended through Jan. 24 at Playwrights Horizons,  416 West 42nd St., NYC. Performances are Tuesdays and Wednesdays at 7 pm; Thursdays and Fridays at 8 pm; Saturdays at 2:30 and 8 pm and Sundays at 2:30 and 7:30 pm. Tickets are $75-$95: www.TicketCentral.com; (212) 279-4200.