“ Strawdog's R.U.R. is a major revival … at once horrifying, entertaining and—forgive the cliché—genuinely thought-provoking … everything about this production is right. ”— The Wall Street Journal
“ The ensemble works together like, well, clockwork--particularly the quintet of socially maladjusted scientists whose reactions to the lovely Helena (Michaela Petro), a human advocate of robot rights, echo the academics smitten by Barbara Stanwyck in Howard Hawks's Ball of Fire. Miles Polaski's intricate array of sound and music cues (co-designed with Mikhail Fiksel) adds chilling aural texture; Dan Stratton's Constructivist-inspired set and Alison Greaves's period costumes give a deluxe feel to the cramped environment. ”— Chicago Reader
The initials stand for Rossum's Universal Robots. Karel Capek's 1920 play introduced the word "robot" to the world, based on the Czech word for laborer (a fun fact you can use to annoy your friends over dinner).
Forget clunky metal boxes, these robots are genetically engineered humans with the troublesome parts, like needs and desires, omitted. The men of R.U.R. live alongside their constructs on a remote island, closely guarding their secret formula while supplying the world with all the cheap labor it can stand. It runs like clockwork until a beautiful young robot rights activist arrives via her father's private boat.
Shade Murray, director of Strawdog's Jeff Award-winning Detective Story and Marathon '33 once again breathes new life into a forgotten gem, a funny and fast-paced character piece that happens to blow the lid off a whole mess of deep metaphysical questions. What is life? What is love? You won't find out on the web site.