Behind the wooden door of Gettysburg Community Theatre, “The Time Machine” — a new play inspired by H. G. Wells’ 1895 dystopian sci-fi novella — appeared onstage for the first time on the East Coast this weekend.
The play launched as a world premiere just last May at the Hale Centre Theatre in Sandy, Utah.
Modern playwright and Southern Utah University alumnus Michael D. Fox — with eclectic music composed by teen composer Cameron Dietlein — has crafted an inventive story based loosely on Wells’ original sci-fi tale (adapted to film in1960), but with striking differences.
H. G. Wells himself is a key fictional character in Fox’s fresh fantasy, in which Wells’ book by the same name is featured and inspired by a young Victorian female scientist named Helene Briggs. The characters are newly imagined and there is no Narrator.
Most notably, the themes coloring Helene’s race through time focus as pointedly on the meaning of family, friendship and lost love as on class differences, greed and betrayal.
Although the plot is occasionally a bit confusing to keep up with (GCT’s program does identify each scene’s time and place), Fox’s “The Time Machine,” as directed by Chad-Alan Carr, easily stands on its own.
Carr deftly directs a talented cast of nine solid actors: Gabriel Cook (as Bradley Mason), Cookie Driscoll (Mrs. Morris/Presenter), Holly Gouge (young Helene Briggs), Nathanael Hahn (H. G. Wells), Carmen Kajihara (Skye), Mike Krikorian (Mr. Backman/Albert Einstein), Cory Metcalf (Gregory), Edward Riggs (Mr. Morris/Man) and Anna Rosenbrien (Helene Briggs/Woman).
His tech crew — directed by Michael Connelly and including Nicholas L. Ryan (lighting design), Vanessa Rice (props design), Joshua Naderi and Corey Williams (scenic painting), and Kai Dittrich, Grant Kajihara and Joy Kajihara (tech assistance) — contributes many exciting visuals and sensory effects to a narrative that jumps in time.
The lighting, in particular, is especially riveting during time machine scenes. And GCT’s own time machine nods to the original movie prop that sold alongside Dorothy’s ruby slippers at auction for nearly $10K in the 70s.
From the 1880s to 1945 to whatever present day, this production’s period costumes and set designs depict each time travel destination beautifully as the story progresses and wonder builds.
The twisting, turning journey begins at the Mason home in the present. As the lights rise on a stark set, widower Bradley Mason sits alone at a table. A wooden box addressed to Helene Briggs is delivered by a peculiar man who leaves as mysteriously as he appeared. Enter Bradley’s teen daughter, Skye, who opens the sealed box intended for her grandmother and discovers it contains H. G. Wells’ manuscript.
Helene arrives, panics when she sees the manuscript and reveals that she is not Skye’s grandmother nor Bradley’s mother-in-law by blood, but a time traveler born in the 19th century. Wells — the great love of her life — has sent the box from the past to arrive on this day to warn that she is in danger.
Thus, the ride begins as Helene and Skye embark on a quest across time to find and protect a powerful source of energy and save the world from the Morlocks.
A few stumbles and many stand-out moments occur on Opening Night; all the actors find opportunities to shine. Driscoll, Gouge, Krikorian, and Riggs enact their multiple roles easily without appearing to skip a beat.
The kindred chemistry between Rosenbrien (Helene) and Kajihara (Skye) syncs well as Rosenbrien delivers a thoughtful and sympathetic lead character, while Kajihara exudes normal teenage angst and high intelligence from the moment she steps on stage.
Metcalf (Gregory) balances the duality of his character with fine energy. As Wells, Hahn both looks and acts his romantic part to a tee, and Cook (Bradley) takes the scary first moments in any play in stride.
The first scene in Act II (1945) is perhaps the most memorable standout. Krikorian as Albert Einstein and Gouge as Young Helene introduce wonderful levity to the mix while amping up the action. Krikorian’s stage presence and humorous approach to his character avoid the trap of slowing the pace with scientific expositions.
A little later, Driscoll’s scene at the Paris Expositions (1889), where she brandishes toilet paper, is also fun.
Family friendly and pulsing with special effects, “The Time Machine” offers viewers much to walk away pondering — it makes strong statements about feminism, ageism, intelligence and the true nature of family. (Skye, for instance, has no DNA in common with Helene but shares her intelligence, and their bond is unshakable.)
The play ends on a surprisingly fuzzy and unexpected “feel good” moment. And for at least one evening or Sunday afternoon in Gettysburg, “Time travel is real!”
Presented by special arrangement with Fox Den Arts, “The Time Machine” continues through February 16 at Gettysburg Community Theatre, 49 York Street. Performances are 2 p.m. Sundays and 7 p.m. Fridays and Saturdays. General admission is $20. For tickets and more information, visit gettysburgcommunitytheatre.org.
