Science Friction
Looking for chemical reaction in physicist love triangle
ANDY PROPST
Tuesday, December 26th 2006
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These figures' arrivals and a dramatic shift at the beginning of Act II are attributed to M-theory, which explains the composition of the universe using an underlying assumption of many dimensions and parallel universes. In theatrical theory, Buggé's dramaturgy should work, but theatrical practice proves otherwise. Though intelligent, the overstuffed play convinces neither as romantic drama nor as discourse on physics nor, with its myriad temporal shifts, as science fiction. Martin Kaye's pedestrian direction does little to illuminate the play's many facets; instead, it erases any tension that exists surrounding the love triangle and removes any anticipation audiences may feel for Buggé's twisting plotlines.
Dillon, Dullea (of filmdom's 2001: A Space Odyssey) and Kelley work valiantly to achieve an emotional reality for their characters and struggle to make the play's science lucid and easily digestible. Unfortunately, Strings ultimately never becomes more than—to borrow from another scientific theory—theatrical "primordial soup."
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