Experiment With an Air Pump, An

1799 and 1999: What's the common element? Both periods had serious ethical issues. In 1799, it was the beginning of medical research; in 1999 it was the advent of genetic research. In 1799, physician and scientist Joseph Fenwick was experimenting with a dove and oxygen deprivation. In 1999 Ellen is offered a great job in genetic research with pre-embryos. The common element is the moral dilemma both face. Another common element in Shelagh Stephenson's An Experiment with an Air Pump is that the location is a family home owned for hundreds of years in Newcastle, England.

Stephenson explores a parallel storyline mirroring the problems both face. Scenes switch between the periods, bringing a clear look into the lives of the families, the differences, and the many similarities. It is a gripping tale played by an excellent cast, constantly in costume change going from one era to the other. This, of course, include dialogue differences and character differences -- a challenge well met by the cast, which director Robert May guides with a sure hand. The realities presented are completely convincing, as are the dialects.

Ron Choularton as Physician Fenwick and contemporary husband Tom is intense, seemingly deriving his performance from the depths of his soul. Robin Christ moves easily from 18th-Century wife Susannah to the contemporary researcher.

Daren Scott plays a very amusing physician and researcher Peter Mark Roget. Known to the English-speaking world for his Thesaurus (first published 52 years after the New Year's Eve setting of 1799). Jessica John, as Isobel (early-period maid), adds delightful touches of humor in a role that requires her to have some physical problems. Joshua Everett Johnson and Allison Riley also have dual roles, which they perform quite well. Lauren Zimmerman, as Maria, contrasts the other players in her role.

Designer Gillian East-Zinc provided excellent costuming for both periods, from the classic wear of the 18th century to the tweedy England of the 20th Century. Robert May's sound design contrasts the two periods adroitly, while the creative lighting, and Emily Dolton's set in Adams Avenue's black box, works well.

Director Mays moves his cast in a totally natural way. There is no wasted motion on the stage in a piece so rapid-paced, it was a surprise to realize that two and a half hours of An Experiment with an Air Pump had passed between lights up and final curtain.