The Motion, Fichandler Theatre, Arena Stage, Washington, DC

 

Barzin Akhavan, Peregrine Teng Heard, and Nancy Robinette in The Motion at Arena Stage. Photo credit: Kian McKellar.

Is it ethical to use Artificial Intelligence (AI) to research a review about a play that, in part, takes AI as its subject matter? That is one of many questions about the subject of AI, which seems to be increasingly asking for our attention.

In this instance, I was searching for definitions of “motion,” given that The Motion is the new play by Christopher Chen currently being performed in the Fichandler Theatre space at Arena Stage, directed by Arena artistic director Hana S. Sharif. At the beginning of the play, “motion” takes on the second of two primary definitions: a proposal for a discussion or resolution at a meeting. As The Motion begins, the motion up for discussion is whether animals should be used for medical testing. Two “debaters” from each side make their cases, with a moderator keeping the discussion focused and balancing the time afforded to each side.

The audience performs a vital function as the debate begins: each member is asked to indicate by holding up an appropriately colored paddle, whether they are “for” or “against” the use of animals in medical testing. As the debate begins, however, the argument is framed instead as a question of animal rights or animal welfare, a distinction that becomes more important as the evening proceeds. Gradually, philosophical concepts become central to the characters. What is the value of life and who decides? Are ethics situational or absolute?

The arguments against use of animals for medical research are made by Dr. Alan James (played by Barzin Akhavan) and Prof. Lily Chan (Peregrine Teng Heard), while Dr. Sarah Matthis (Nikkole Salter) and Prof. Neel Bharara (Nehal Joshi) take the opposing view. The Moderator (Nancy Robinette) manages, for the most part, to keep the discussion on track. Predictably, the opponents of animal testing rely on arguments tending toward emotion, while the proponents cite facts and statistical information, a classic example of the opposing concepts the Greeks referred to as pathos and logos.

Suddenly, events occur that change the situation: we are no longer in a formal debate situation. We are now watching the four debaters as “civilians,” thrust into a new relationship under circumstances that are never fully explained. Now that they are no longer adversaries, they begin to experience heightened sensitivity to each other, recognizing that they must find a way to coexist in a new environment. Relationships change in expected and unexpected ways, but the four establish a new community. Forgotten is the “motion” the four previously debated as the characters experience the primary definition of “motion,” the process of moving or being moved. This definition of the word is the inescapable change of circumstances, unavoidable as time hurtles ahead. The characters are evolving, finding or creating a new order.

Peregrine Teng Heard, Nehal Joshi, Nikkole Salter, and Barzin Akhavan in The Motion. Photo credit: Kian McKellar.

I will not disclose what the specifics of this change are because the play unfolds in such unexpected ways, the surprise element of what happens and how the characters relate to the events, is part of the gift of playwright Chen. Director Sharif and her cast allow the events to unfold without forecasting what comes next, just as it happens in real life.

The cast is strong. DC theatre icon Nancy Robinette is authoritative as the Moderator in the early scenes of the play and returns later in an unexpected but essential role that I will not disclose.  Barsin Akhava as an anti-tester comes across as even-tempered and “folksy” when we first meet him, but he erupts when prodded, exploring well the dynamics of his role. Peregrine Teng Heard convincingly undergoes perhaps the most drastic change in character as the circumstances are altered. Nikkole Salter, whom I admired in Folger Theatre’s Julius X last fall and As You Like It this past winter, is very much the scientist, rattling off facts and statistics supporting her pro-testing stance. Nehal Joshi, memorable in Arena’s Damn Yankees as the Orioles’ coach, is dynamic as Neel, demonstrating unexpected vulnerability and an arresting vitality.

The initial set is amazingly simple: two desks, four chairs, and a raised platform center stage. Then scene designer Tim Mackabee takes full advantage of Arena’s staging flexibility as a new setting descends from above, recognizable spaces representing a garden with real dirt (where we can magically see the plants grow), an outdoor seating area, and a dining room, then bringing up from below a third scene, intriguingly sterile and cold, devoid of color. Mika Eubanks has designed costumes that suit the characters in the debate scene, then a variety of looks for the characters in their new environments. Jason Lynch’s lighting design enhances the look of the production and conveys a sense of mystery. LaShawn Melton’s wig and hair design subtly helps confirm the characters’ personalities as they are revealed. Charles Coes and Nathan A. Roberts are credited with sound design and original music, both of which contribute to the evolving tension and anticipation.

Barzin Akhavan, Peregrine Teng Heard, Nehal Joshi, and Nikkole Salter in The Motion. Photo credit: Kian McKellar.

At the conclusion of the play, the original motion is repeated (in favor of or against using animals in medical testing) and the audience is given an opportunity to vote again, with the “winner” being determined not by the number of respondents for each side, but chosen based on the number of opinions changed by the dramatization. I would be interested in knowing whether the outcome at the performance I attended was the more common response. The result is never taken for granted, because playwright Chen and director Sharif manage to present arguments for both sides with amazing objectivity.

The Motion is a challenging play to watch, characterized by dense language, important ideas, and thoughtful questioning. Thanks to the combination of writing, directing, acting, and staging, the audience becomes a participant in the debate. The Motion continues at Arena Stage through June 14.