Speculative Fringe: God is an Iron at the Montreal Fringe
Monday, June 16, I went to see a show at the Montreal Fringe Festival. Local theatre company Black Box Productions was staging their adaptation of God is an Iron, originally a short story by Spider Robinson. The story, first published in 1979, was later expanded by Robinson into a novel called Mindkiller (which I have not read). The play, adapted by producer and Black Box chief Elizabeth Cano, sticks close to the original story, finding a solid stage-worthy drama in the sf tale. The play has two more performances — on Saturday and Sunday, full details here — and there are plans afoot for a filmed version to be available later.
In the near future, a young man, Joe, enters an apartment and finds a woman, Karen, near death. She’s plugged into a machine stimulating the pleasure centre of her brain, an addictive high common in this future, and one that often leads to death as the addict comes to prefer the ongoing pleasure to food or drink. Joe gets Karen out of the machine and tries to lead her back to health. Who is she? Why did she plug herself into pleasure, knowing it could lead to her own death? Who is he, and why does he care? The set-up gives us questions, and over the course of the story we come to find out the answers. Some are profound, and the last is almost a punch-line: like a punch-line, it collapses all the pathos of the story and the themes into a sudden and surprising realisation.
The tale’s a meditation on empathy and pleasure; more precisely, on empathy and hedonism. Living for pleasure is self-directed. So what drives us — as human beings seem to be driven — to be social animals? Is there some merit to living for others beyond pleasure? Cano’s script, a faithful adaptation of the story using much of the original text, tries to probe these questions.
