The set is lit, revealing a small chemistry lab, bookcases, house living spaces, and a park bench. Representing seemingly disparate contexts in the same space, the set’s variety provided effective, seamless transitions on an intimate stage.

Tom Koch & Madison Finney in SCIENCE. photo by Maria Baranova

Tom Koch & Madison Finney in SCIENCE. photo by Maria Baranova

It is a treat to hear Nobel laureate Dr. Morgan eloquently articulate his keen insights into the search for the purpose of life, the human psyche, and perhaps even the ecclesiastical soul as one Pastor Wilmont might argue. We join them in our own attempts to reconcile the seemingly incongruent belief systems of science and religion, searching perhaps for the perfectly balanced Yin and Yang, and come to desire more than the frequently repeated phrase “whatever works for you”.

One cannot help but examine their own experiences with religion, its subjective demands for blind faith and belief in God and the supernatural, how many are taught to suffer in the living world because of natural sin, and how we may have come to view science and its widely accepted, objective views of the world and life that conflict with some religions.

Robert Gregeory, Madison Finney, Tom Koch in SCIENCE. photo by Maria Baranova

Robert Gregory, Madison Finney, Tom Koch in SCIENCE. photo by Maria Baranova

The debate between a strict interpretation of religious dogma or extant texts vs. pure science reveals a means of reconciliation demonstrated by Dr. Morgan’s endearing wife Anne (Robin May). Perhaps she is the unsung hero of this piece as she finds a way to survive the death and loss of a loved one.

It’s disturbing to discover that Pastor Wilmont, for religious reasons, refused his other then-teenaged son medical treatment for appendicitis resulting in his death, a glaring tant pis. This early revelation amplified by his son Bret’s (Tom Koch) heartbreaking dozing nightmare certainly placed doubts on the Pastor’s credibility and focuses sharply on religious zealots that ignore medicine and science to disturbing, fatal limits.

The play is personal, touching, and thought-provoking. It’s all too human and plays on the side of hope, generosity, caring, and honoring the lives we possess. The audience gently, and audibly reacted to many moments created by the players. You’ll have to experience it to know how it all works out, but perhaps, “Let not your heart be troubled…” (from the book of John 14:1-3)

Wonderful set, lighting, and sound. Kudos to Playwright Tom Attea, incidental music by Arthur Abrams, Director/Set Designer Mark Marcante, Assistant Director Danielle Hauser, Stage Manager Natasha Velez, Light Designer Alexander Bartenieff, Prop Design Lytza Colón, Sound Design/Light Roy Chang, and Dream Sequence Film by Joshua Avalos.

Runtime: Two hours including a 10-minute intermission.

Science (runs through May 1)

Theater for the New City

155 1st Ave., New York, NY 10003

(212) 254-1109

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