Dialing into Woolly Mammoth’s Telephonic Play
A review by Norah Vawter
Human Resources, a collaboration with the Telephonic Literary Union, is the first play of Woolly Mammoth Theatre’s 41st season. It’s available to experience and explore until October 25. This anthology production was created by Brittany K. Allen, Christopher Chen, Hansol Jung, Sarah Lunnie, Stowe Nelson, Zeniba Now and Yuvika Tolani. Human Resources is theatre like I’ve never experienced. Note my wording. “Experienced.” I can’t say that I saw the play. The actors haven’t even seen the play. It isn’t presented on Woolly Mammoth’s elegant stage. This is theatre for the age of the Corona Virus: it takes place in your home, or your car, or honestly any place with good phone reception. Note my wording: “phone reception” not “WiFi.” What makes Human Resources truly wild, and genuinely fun, is the fact that it’s not on Zoom or another video platform.
I’ll just admit it. I’m sick of Zoom. Don’t get me wrong: One of the few upsides to the global pandemic is the fact that arts programming has become more accessible to more people because of all the virtual programming available. Nevertheless, like many people I’m feeling some video burnout. Human Resources takes place on the telephone. You dial into this play, rather than driving or taking the metro to experience it live in the midst of a crowded theatre. Imagine that you’re dialing into a helpline, and stuck in that endless saga of “press 1 for X,” and “press 2 for Y,” trying desperately to reach a freaking human being. But instead of commonplace, dull options, you have a whimsical rabbit hole of choices, including filing a “complaint of unhappiness” or “rearranging your consciousness.” It’s a nonlinear experience: with each number pressed, you create your own story, your own rabbit hole. Like those Choose Your Own Adventure Books. There isn’t a set time for the performance: when you purchase your ticket, you get access to the show for several days. You can dial in, hang up, and dial back at any point within your window.
Yes, it’s goofy. It could have been a joke, so easily. But the playwrights are earnest in their desire to connect with the audience, despite the limits imposed on the theatre industry by the pandemic. Here in DC, traditional live theatre is generally not happening right now. Local theatres are responding in different ways. Adaptations to the normal course of a season include postponing plays, creating films, and producing radio plays. Woolly Mammoth has a full season of theatre planned, but the dates of future productions are still to be decided, because it’s unclear when it will be safe to return to live productions and whether some or all of the season will take place virtually. Check their website for updates.
Human Resources is an anthology consisting of four parts: “Claims of Unhappiness,” “The Waiver,” “Option 3,” and “Stay on the Line.” Depending on which option you choose on the main menu, you are directed into one of these four parts, which in turn have their own options, their own web of choose-your-own-adventures. While I enjoyed all the varied content, I particularly loved the circular and intensely kind, compassionate segment, “Claims of Unhappiness,” which features stellar writing by Hansol Jung and subtle, poignant, sometimes hilarious acting by Jin Ha and Brian Quijada. If you notice that I’m not giving a standard summary or many details, it’s because this is not a standard play. Because of the nonlinear, telephonic form, everyone will experience a different story. I also don’t want to give too much away—the delight of Human Resources is discovering one whimsical option after another.
I’m a big fan of Woolly Mammoth Theatre. While Human Resources is like nothing else I’ve seen from Woolly, it does bear a striking resemblance to one aspect of the best work this theatre has to offer. It subverts expectations and form, it asks the audience to think critically about the work and ourselves, and it surprises the audience by going in unexpected directions. One thing that sets it apart is that Human Resources is surprisingly gentle. As if the playwrights, actors, and crew know, instinctively, that audiences today need a gentle hug, rather than a wake-up call. Whether you’re listening to an automated-sounding voice or a real human being, as you make your way through the phone tree, you may feel like you’ve reached a friend. It’s like dialing into a warm cup of tea.
Human Resources is not hard-hitting or shocking. Nevertheless, the play engaged me, giving me a fresh perspective and a renewed sense of purpose. These last months have been hard on me, as I’m sure they’ve been hard on you. I’m exhausted by the competing demands of work, my son’s virtual learning, isolation, loneliness, and worry. Dialing my way through the web of Human Resources gave me a lift. It made me feel, no pun intended, a little more human.
Press 1 to buy tickets. Human Resources is playing through October 25, 2020.
Press 2 to learn about “Play at Home:” new plays, commissioned in partnership by Woolly and several other theatres, that you can perform at home with friends and family.
Press 3 to donate to theatreWashington’s fund to help local theatre professionals during the pandemic: the Taking Care Fund—COVID-19 Emergency Relief.
Learn more about Woolly Mammoth Theatre by visiting their website: www.woollymammoth.net
Norah Vawter is DCTrending’s local authors editor. She has an M.F.A. in fiction from George Mason, has published in The Washington Post, Memoir Magazine, and The Nassau Review, among others, and is querying her first novel. She lives in Northern Virginia with her husband and son. Follow her on Twitter @NorahVawter, where she shares words & works of DC area authors every Monday and Friday.