Review: LONGING at The Gaslight Theatre

LONGING is a thought-provoking new play by Lize Lewy examining relationships in a virtual realm. Set forty-years into the future, users chat through direct messaging while observing their avatars engaging in a virtual reality platform.  

Lewy’s script asserts that the addition of an artificial presence in an internet chat amplifies an already blurred reality. It increases the rapidity with which users share intimate details about their lives and accelerates emotional involvement. It is entirely plausible that needy users may become engrossed way too quickly. 

In LONGING, the introverted but optimistic Mason (Andre Navid Eslamian) is looking for companionship. He screens multiple incoming requests to chat on his platform. He’s frustrated and annoyed by users who lead with innuendo and overt sexual advances. That’s not what Mason is looking for online. He is in search of that elusive romantic relationship for which he yearns. After rejecting several conversations based on their greetings, Mason receives a request to connect, and he commands the platform to initiate contact.   

Lola (Leta Debardeleben) greets Mason in an unpretentious tone. Mason is intrigued, continues the conversation, and he invites Lola into his virtual realm. Lola’s avatar materializes and she walks out onto a wooden a dock that jets out into the sea. Their small talk starts. 

Mason’s virtual image is that of a young and handsome man with shoulder length curly brown hair and a dark Five-o'clock shadow. His mannerisms indicate he is reserved and shy. He blushes easily. Lola’s alter-ego is confident, playful, and a bit flirty. Her avatar is alluring and pretty. She has long black hair and is dressed in tasteful but seductive clothing like what a young woman may wear to a dance club. 

For the next hour, the audience observes the chat between the twenty-something users. What starts as informal prattle quickly deepens into a discussion where both share private details about their lives. Mason is immediately smitten and opens his heart to Lola.  

Eslamian and Debardeleben have immense chemistry as Mason and Lola. Their delivery of Lewy’s colloquial dialogue is natural and conversational. The believable script gives the actors fodder to create genuine and authentic characters. Their realistic portrayals hook the audience and reels them into their virtual reality.  

Director Kay Ailee Bush and Intimacy Director Summer Baer have created sensual choreographic blocking on Bush and Lewy’s elegantly designed set piece. Zachary Grimm’s realistic sound, lighting, and projections enhanced the romantic and serene feel of the alternate reality. Their combined work increased the authenticity of Mason and Lola’s flirtation.  

Bush’s costuming design for both avatars accentuate the personality of each character’s avatar. Mason’s loose sweater, jeans and boots underscore his shy introverted nature. Lola’s faux leather pants and form fitted sweater with cutouts amplifies her flirty and confident demeanor.  

The audience is drawn into the possibility and promise of a budding romance. Lewy’s narrative is genius. The audience never meets the real Mason or Lola. They are just observers in Mason’s virtual reality room.  

Lewy has created a complex story where emotions are impetuously heightened. Mason is invested in a relationship that could end with a simple swipe of a smartphone screen. It begs the question about processing romantic feelings in a virtual world of accelerated intimacy. Can a vulnerable heart survive a fragile relationship where physical intimacy may or may not become a reality? 

LONGING is a ruminative case study in social media messaging and virtual reality romance. Lewy’s dialogue driven script is smart, plausible, and convincing. Bush elicits honest portrayals from Eslamian and Debardeleben, and both actors generate potent sexual tension with their brave all-in performances. 

LONGING has already played its final performance. 

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